Harshcharitna Sanskrutik Adhyayannu Avalokana

Here's a comprehensive summary of the provided Gujarati text about Dr. Vasudev Sharan Agrawal's study of the Harshacharita:

This document is a review or analysis of Dr. Vasudev Sharan Agrawal's book, "Harshcharita: Ek Sanskrutik Adhyayan" (Harshacharita: A Cultural Study). The reviewer, Sukhlal Sanghavi, provides an in-depth examination of Agrawal's work, highlighting its significance and scholarly approach.

Author and His Background:

• Dr. Vasudev Sharan Agrawal: The text introduces Dr. Agrawal as a well-respected scholar, familiar to Gujarat's intelligentsia. He previously lectured in Gujarat on Mathura's sculpture and architecture. He served as the curator of the Mathura Museum for about ten years, holds a D.Litt., and has held significant positions in the Central Asian Antiquities Museum and the Archaeological Survey of India. He also delivered lectures on Panini at Lucknow University. Currently, he is the Head Professor of Indian Art and Archaeology at Banaras Hindu University. His writings are published in Hindi and English, with several notable collections of essays covering Vedic essays, folk literature, art, and culture.

The Book: "Harshcharita: A Cultural Study"

• Origin: The book is based on five lectures delivered by Dr. Agrawal at the Bihar Rashtrabhasha Parishad in Patna, concerning the Harshacharita.
• Content and Approach: Agrawal's study meticulously examines the Harshacharita, a prose epic by Bana. The book focuses on the various aspects of Indian culture depicted or suggested in the text.
• Methodology: Agrawal uses a historical and comparative approach, drawing heavily on evidence from sculpture, architecture, painting, other fine arts, administrative documents, coins, and literary sources.
• Illustrations: The book is enriched with approximately 100 illustrations spread across 28 plates. These include photographs of actual artifacts like sculptures, architectural fragments, vessels, ornaments, clothing, and coins. Where physical evidence was lacking, Agrawal created his own illustrations based on his interpretations to clarify the text. The reviewer emphasizes how these visuals make Agrawal's descriptions highly convincing.
• Extensive Research: Agrawal's research is exceptionally broad, encompassing not only Indian art and artifacts but also vast amounts of literature in German, French, English, and various Indian languages (Sanskrit, Prakrit, Pali, Gujarati, Hindi). The reviewer notes that simply listing the sources used would constitute a substantial essay in itself.

Significance and Contributions of Agrawal's Work:

• Unlocking Hidden Meanings: The reviewer states that Agrawal has managed to "contain the ocean in a small pot," referring to the depth and comprehensiveness of his study. Agrawal's primary aim is to present a thorough cultural study of Bana's genius, as reflected in the Harshacharita and Kadambari.
• Methodology for Cultural Studies: In the introduction to Harshacharita, Agrawal outlines seven key points for conducting a comprehensive cultural study, emphasizing the need for authentic editions of Bana's works, detailed commentary on hidden meanings, a complete glossary-index, and critical historical analysis of the cultural material.
• Bridging Literature and Art: A key contribution of Agrawal's work, as highlighted by the reviewer, is his demonstration of how art and literature are interconnected. He argues that artistic artifacts (sculpture, painting, architecture) can help in understanding the complex meanings within literary works, and vice versa. This is exemplified by his detailed analysis of a passage in the Harshacharita concerning Queen Yashomati.
• Detailed Analysis of Specific Passages:
  • Yashomati's Washing Basin: Agrawal meticulously deciphers a complex 16-word compound sentence describing a silver swan-shaped vessel used by Yashomati. His interpretation is aided by an actual silver swan-shaped vessel found at Taxila and a Gupta-era copper Buddha image described in a book by Mr. Kumaraswamy. This analysis allows him to clarify the precise meaning of terms like "Kubjika" (referring to a young girl) and the description of the wet garment.
  • Rajyavardhana's Arm: Agrawal analyzes a passage describing Rajyavardhana's reaction to his father's death. He uses a Gupta-era toy figure from Ahichhatra depicting a warrior with swords and an Ajanta painting to explain Bana's description of the warrior's stance and the weaponry.
  • Palace Descriptions: Agrawal provides a comprehensive historical comparison of palace descriptions from various literary sources (Ramayana, Mahabharata, Ashvaghosha, Kalidasa, Mricchakatika, etc.) with Bana's description of Harshavardhana's palace. He even includes modern examples like Hampton Court Palace in London and the President's Palace in Delhi to highlight enduring similarities in architectural elements across different cultures and eras.
  • Ashrama and Philosophical Schools: The text describes the ashram of Divakaramitra, a Buddhist scholar. Agrawal's analysis of the 19 philosophical and religious schools mentioned by Bana provides a valuable insight into the intellectual and religious landscape of the 7th century. The reviewer notes Agrawal's careful identification of these schools, including his assertion that the term "Jain" in Bana's time might have referred more broadly to Buddhist sects, with specific Jain traditions being described by other terms like "Ahant," "Tapat," and "Keshlochan." He also discusses the Ajivikas, Pasupatas, Sankhya, Vaisheshika, Nyaya, and various other schools.
  • Diplomatic Envoy: Agrawal analyzes Bana's description of Hamsavega, a envoy from Bhaskar Varma of Pragjyotisha, and his interaction with Harshavardhana. Bana's depiction of courtly intrigues, flattery, and rivalries is seen as a timeless portrayal of human nature in such settings.
  • Military March: The reviewer highlights Agrawal's detailed description of the chaos and hardship caused by Harshavardhana's army's march, drawing parallels to recent wartime experiences. This includes descriptions of soldiers' behavior and interactions.
  • "Vyavaharini": Agrawal's sharp observation is shown in his reinterpretation of the term "vyavaharini" in the context of the army's preparations at 3 AM. While previous interpretations suggested a merchant or official, Agrawal correctly identifies it as a sweeper, explaining the rationale behind their early presence.
  • Clothing and Textiles: The book delves into the various types of garments described by Bana, analyzing their etymology, evolution, and cultural significance. Agrawal traces the origins of terms like "stavaraka" (Iranian origin) and "bandhani" (tie-dye), linking them to archaeological findings and historical trade relations.
  • Pajamas (Payjama): Agrawal's explanation of different types of "payjamas" (swasthana, pinga, satula) mentioned by Bana is detailed. He discusses their historical adoption in India, their presence in art from the Shaka and Gupta periods, and their social prevalence. He also explores the etymology of these terms and their possible connections to Central Asian clothing.

Overall Impact and Recommendation:

The reviewer strongly recommends Agrawal's "Harshacharita: A Cultural Study," calling it a model for serious cultural studies in Gujarati. He believes that such detailed analyses are long overdue in Gujarati literature and that many existing Sanskrit, Prakrit, and Old Gujarati literary works are waiting for similar scholarly attention. Agrawal's work is seen as a gateway not only to understanding Bana's era but also as a key to unlocking the cultural contexts of earlier and later Indian poets and scholars.