Jain Jatakona Chitraprasango Vali Kalpasutrani Suvarnakshari Prat - Book Summary

Here's a comprehensive summary of the provided Jain text in English, focusing on its content and significance:

Book Title: Jain Jatakona Chitraprasango vali Kalpasutrani Suvarnakshari Prat (Illustrated Kalpa Sutra Manuscript with Jain Jataka Scenes in Gold Script) Author: Sarabhai Manilal Nawab Publisher: Z_Vijay_Vallabh_suri_Smarak_Granth_012060.pdf (as part of the Acharya Vijayavallabhsuri Smarak Granth) Catalog Link: https://jainqq.org/explore/210639/1

Overall Summary:

This text, authored by Sarabhai Manilal Nawab, is an introductory essay that highlights the artistic and literary value of a specific illustrated manuscript of the Kalpa Sutra. Nawab, an ardent scholar of Jain art and manuscripts, introduces a unique "golden-script" (Suvarnakshari) Kalpa Sutra manuscript from Ahmedabad. He emphasizes the historical patronage of art by Jain ministers and wealthy individuals, who commissioned intricate illustrations in religious texts, thereby fostering the development of painting alongside architecture.

The essay focuses on two particularly noteworthy illustrated Kalpa Sutra manuscripts found in Ahmedabad's Jain manuscript collections. The author then delves into a detailed description of the Suvarnakshari manuscript housed in the Shri Parshwachandragachha Upashraya in Samlani Pol, Ahmedabad, dated to Samvat 1516 (1459 AD) and written in Patan. This manuscript is significant for its extensive illustrations depicting the previous lives (purvabhavas) and key life events of four Tirthankaras: Rishabhadeva, Neminatha, Parshvanatha, and Mahavira.

Key Points and Detailed Description of the Manuscript:

Author's Previous Work: Nawab mentions his previous publications aimed at showcasing Jain art, including "Jain Chitrakalpadruma," "Jain Chitrakalpalata," "Chitra Kalpasutra," and "Ashtanika-Kalpasubodhika."
Significance of Jain Patronage: The author underscores that just as Jain patrons supported sculpture and architecture, they also heavily patronized painting by commissioning illustrations for religious texts.
Focus on Ahmedabad Manuscripts: Nawab identifies two exceptional illustrated Kalpa Sutra manuscripts in Ahmedabad:
1. Shriyavimalji Shastrasangraha Manuscript (Devsana Pada, Ahmedabad): This manuscript is distinguished by approximately three hundred illustrated scenes related to the Natyashastra (the science of drama and performance), covering aspects like music, rhythm, and various forms of movement. It also features unique border decorations with floral motifs, lively depictions of animals (lions, elephants, bulls, peacocks), and scenes related to the Kalpa Sutra itself, which are not found in other manuscripts. A notable feature is the presence of both Western Indian and Iranian artistic influences, a significant characteristic.
2. Shri Parshwachandragachha Upashraya Manuscript (Samlani Pol, Ahmedabad): This is the manuscript the essay primarily focuses on.
  - Dating and Origin: Written in Samvat 1516 (1459 AD) in Patan.
  - Content: It contains 118 pages of the Kalpa Sutra and 10 pages of the Kalakacharya Katha.
  - Illustrations:
    - 44 main illustrations within the Kalpa Sutra, depicting significant events in the lives of Tirthankaras, particularly Mahavira and Parshvanatha, and also Rishabhadeva and Neminatha. These include events like conception (chyavan), dreams of the mother, the birth ceremony (janmabhishek), wrestling matches, renunciation, sermon assemblies (samavasarana), and nirvana.
    - Numerous illustrations in the borders and margins of the pages, showcasing scenes from the previous lives (purvabhavas) of the four Tirthankaras. These detailed descriptions provide specific examples of the content found in the margins of pages 1, 2, 3, 44, 67, 73, and 82, highlighting figures like kinnaris, elephant riders, dancers, musicians, deities (Chakreshwari, Ambika, Dharanendra, Padmavati, Saraswati), and various animals.
  - "Golden Script": The term "Suvarnakshari" refers to the use of gold ink for writing key descriptions or text within the manuscript, adding to its grandeur. Examples are given for the description of Mahavira's birth (Page 44) and the events of the Kalakacharya Katha.
  - Scriptures Covered: The manuscript includes sections of the Kalpa Sutra and the Kalakacharya Katha.
  - Colophons (Pushpika): The text provides the colophons found at the end of the Kalpa Sutra and the Kalakacharya Katha, indicating the date and completion details.
Author's Intent: Nawab expresses his intention to publish a detailed exposition of these illustrated scenes in the future. He wrote this essay to bring attention to these beautiful manuscripts and encourage art enthusiasts to visit Ahmedabad to witness their artistic splendor.
Acknowledgements: He expresses gratitude to Gurudev Shri Punyavijayji and Pujya Shri Vriddhichandriji for informing him about the Samlani Pol manuscript.

The essay further includes a "Picture Introduction" (Chitra-Parichay) section, which discusses various Jain sculptures and metal images from different periods and locations in India. This section provides historical context and artistic analysis of Jain iconography and craftsmanship, referencing specific examples like:

Gupta-period Neminatha statue from Rajgir.
Sambhavanatha image from Sonbhandar cave, Rajgir.
Bronze statue of Rishabhadeva installed by Jinabhadra Vacanacharya from Akota.
Bronze Samavasarana sculpture.
Metal images of Parshvanatha from Lilvadeva and Baroda.
Adinatha Chovisi from Pindwada.
Sculptures of minister Tejpal and Anupamadevi from Mount Abu.
Carvings from the ceilings of Vimala Vasahi and Luna Vasahi at Mount Abu.
Stone plaque of Sahastraphana Parshvanatha in Ranakpur.
Marble plaque depicting Nandiisvaradvipa in Ranakpur.
Marble statues of Jain Sadhvis (nuns) from various locations, highlighting their artistic representation and historical significance.
A wooden panel from a Jain temple in Patan.
A historical textile painting depicting Meru Parvat, with potential significance for dating the life of Nyayacharya Upadhyaya Shri Yashovijayji Maharaj.

Overall Significance:

Sarabhai Manilal Nawab's work serves as a valuable resource for understanding the rich tradition of Jain art and manuscript illustration. It highlights the artistic excellence of medieval Jain manuscripts and the crucial role of Jain patronage in preserving and promoting these art forms. The detailed description of the Suvarnakshari Kalpa Sutra manuscript specifically emphasizes its importance for its comprehensive coverage of Tirthankara narratives and the confluence of artistic influences.