Jain Sahitya Ke Vividh Ayam

This document is the first volume of "Jain Sahitya ke Vividh Ayam" (Various Dimensions of Jain Literature), edited by Dr. Sagarmal Jain and published by Parshwanath Vidyapith, Varanasi in 1981. The catalog link is provided as jainqq.org/explore/003193/1. This volume is a collection of scholarly articles, and the provided text contains several of these articles.

Here's a summary of the key articles and their themes based on the provided text:

1. Jain, Baudha aur Vaidik Sahitya – Ek Tulnatmak Adhyayan (Jain, Buddhist, and Vedic Literature - A Comparative Study)

• Author: Shri Devendra Muni Shastri
• Core Argument: This article, the first and most substantial one provided, undertakes a comparative study of Jain, Buddhist, and Vedic literature and cultures. The author argues that Indian culture, a flowing stream, has been shaped by these three traditions. While not identical, they were not distant from each other. The author emphasizes that a comparative study is essential to dispel narrow-mindedness and sectarianism.
• Key Points:
  • Independence of Jainism: The author refutes the notion that Jainism is a branch of Vedic religion, asserting that it originated as an independent stream (Shraman culture) from the beginning, rather than being a derivative.
  • Shared Roots with Buddhism: Both Jainism and Buddhism are identified as streams of Shraman culture, with Lord Rishabhdev as the first Tirthankara of Jainism and Lord Buddha as the founder of Buddhism. Both Mahavira and Buddha lived around the same time and preached in Bihar, advocating humanism and internal purity over casteism.
  • Scriptural Similarities: The author notes significant similarities in subjects, words, phrases, and narratives between Jain Agamas (Ganipitaka) and Buddhist Tripitakas, suggesting a possible common origin or significant intermingling.
  • Language: Tripitaka literature is primarily in Pali, while Jain Agamas are in Ardhamagadhi Prakrit, both adopted for the welfare of the common people.
  • Authorship and Goal: Vedic texts are considered eternal and unauthored by Mimamsakas, or created by God by Naiyayikas-Vaisheshikas, with an unknown creation time. In contrast, Buddhist Tripitakas and Jain Ganipitakas are considered authored, not created by an formless God, and their creation time is known.
  • Philosophical Goals: The ultimate goal of Jain sadhana is Nirvana, while the main goal of the Vedic tradition was attaining heaven. This difference influences their literature, with Vedic texts emphasizing rituals and prayers for material gain, while Jain Agamas like Acharanga focus on self-inquiry ("Who am I?").
  • Spiritual Content: While Upanishads contain spiritual thought, they lack the detailed guidance on the daily life and practices of a spiritual seeker found in Jain Agamas like Acharanga, which explicitly discuss concepts like attachment being bondage and the path to liberation.
  • Concept of the Soul: The article cites Acharanga Sutra describing the soul as indivisible, indestructible, and beyond physical description. Similar concepts are found in Upanishads and the Bhagavad Gita. The description of the liberated soul as formless, without qualities, and beyond words and senses is also discussed.
  • Comparative Analysis of Texts: The article draws numerous parallels between specific Jain texts (Acharanga, Sutrakritanga, Sthananga, Samavayama) and Buddhist texts (Dhamma-pada, Sutta-nipata, Anguttara Nikaya, Majjhima Nikaya, Vinaya Pitaka) and even Vedic texts (Mahabharata, Gita, Upanishads). Examples include:
    • Dhammapada/Sutta-nipata vs. Acharanga: Similarities in ascetic practices and descriptions.
    • Anguttara Nikaya vs. Sthananga: Discussions on what causes madness or disorder of mind (e.g., contemplating the incomprehensible, attachment to worldly things).
    • Ashrava (Jain) vs. Avidya (Buddhist): Similar concepts of the root of suffering and its cessation.
    • Vickatha (Jain gossip) vs. Niddhana (Buddhist idle talk): Categorizations of unnecessary talk.
    • Raga and Dvesha (Jain) vs. Lobha, Dosha, Moha (Buddhist): Causes of negative karma.
    • Mada (Jain vices of pride) vs. Mada (Buddhist vices of pride): Similar discussions on various types of pride.
    • Samyakdarshan (Jain right view) vs. Sammadiṭṭhi (Buddhist right view): Emphasis on right belief and understanding.
    • Vrata (Jain vows) vs. Sheela (Buddhist precepts): Similar ethical injunctions for lay followers.
    • Leshya (Jain soul-color) vs. Abhijatis (Buddhist classifications based on color): A comparison of concepts related to spiritual disposition and classification, noting how both traditions use color as a metaphor.
    • Nirvana: While both traditions discuss Nirvana, the Jain perspective sees it as the soul's pure state, while the Buddhist view is the absence of substantial existence.
    • Pudgala: The term "Pudgala" is unique to Jain and Buddhist literature. While Jainism primarily uses it for material substances, Buddhism uses it for the self or soul.
    • Vinaya: The concept of Vinaya (discipline/ethics) is significant in both traditions.
    • Sharan (Refuge): Jainism emphasizes refuge in Arihant, Siddha, Sadhu, and Dharma, while Buddhism focuses on Buddha, Dharma, and Sangha.
    • Tirthankara vs. Buddha: The text notes that Jainism historically posits only one Tirthankara or Chakravarti in a region at a time, a concept mirrored in Buddhist belief regarding Buddhas.
    • Story Similarities: Examples of parallel narratives are found in various texts, indicating cross-cultural influence.
• Conclusion: The article concludes by highlighting the immense significance of the Agam literature as the foundation of Jain culture, history, society, and religion. It stresses the need for comparative study to overcome sectarianism and appreciate the depth of Jain philosophy.

2. Prachin Bharatiya Vangmay mein Parshwacharit (Parshvanatha's Biography in Ancient Indian Literature)

• Author: Dr. Jaykumar Jain
• Summary: This article discusses the prominence of Lord Parshvanatha's life in Jain poetry. It notes that his biography is considered second only to that of Lord Mahavira in Jain literature and has been a popular subject across various Indian languages due to its rich and event-filled narrative. The author provides a chronological overview of over 20 poetic works on Parshvanatha in Sanskrit, Prakrit, and Apabhramsha.
• Key Works Mentioned:
  • Parshvabhyudaya by Jinacharya: Considered the first and best among "Samasyapootika" (completive poetry) works, it ingeniously uses parts of Kalidasa's Meghaduta. The article discusses its author, dating (8th century CE), and narrative focus (the story of Kamatha and Marubhuti, and the उपसर्गs faced by Parshvanatha).
  • Parshvanatha Charita by Vadiraj Suri: A twelve-canto epic, drawing from Gunanbhadra's Uttarapurana. It's dated to 947 Shaka (1025 CE) and is noted for its historical significance.
  • Pasnahachariu by Padmakirti: Written in Apabhramsha, this work is significant for its detailed discussion of Jain principles alongside the narrative. Its dating is discussed, with a likely period of 1077 CE.
  • Other works by Devadatta, Devbhadra Suri, Vibudha Shridhar, Devachandra, Manikchand Suri, Vinaychandra Suri, Sarvanand Suri, Bhudev Suri, Sakalkirti, Raiddhu, Aswal Kavi, Tejpal, Padmasundar Gani, Hemavijay Gani, Vadichandra, and Udayvir Gani are briefly mentioned, along with their approximate dating and manuscript details. The article highlights the rich literary tradition and the evolution of narrative styles in these works.

3. Shambuka Akhyan (Jain tatha Jaintar Samagri ka Tulnatmak Adhyayan) (The Shambuka Narrative: A Comparative Study of Jain and Non-Jain Material)

• Author: Shri Vimalchand Shukla
• Summary: This article analyzes the Shambuka narrative from historical, cultural, religious, and sociological perspectives, noting its transformation across different traditions. The author posits that such narratives are often crafted to uphold the ideals and values of particular thinkers, communities, or periods.
• Key Points:
  • Valmiki Ramayana Version: The earliest mention is in Valmiki's Ramayana, where a Brahmin's son dies during Rama's reign. Narada attributes this to a Shudra named Shambuka performing penance, which was considered a violation of dharma. Rama beheads Shambuka.
  • Kalidasa's Raghuvamsha: Kalidasa follows Valmiki's account, emphasizing that Shambuka's transgression of caste rules led to the son's death and that beheading allowed Shambuka to attain heaven through penance. Bhavabhuti's Uttara Rama Charita even has Shambuka praising his punishment.
  • Critique of Caste System in Ramayanas: The author points out that these Brahminical accounts emphasize the "sinfulness" of Shudra penance and use Shambuka's story to uphold the caste system and Brahminical supremacy. The author questions why the death of a Brahmin's son is linked to adharmacharan (unrighteousness) by the ruler only when a Shudra is involved in penance.
  • Jain Perspective (Paumchariy by Vimal Suri, Padmapurana by Ravisen): The Jain narrative significantly differs. Shambuka (Sambukka) is depicted as a devotee of right faith, practicing discipline, and self-control, who undertakes penance to obtain a sword. It is Lakshmana who accidentally beheads him while testing the sword on a bamboo, not for violating caste rules.
  • Key Differences: Jain texts portray Shambuka positively (disciplined, pure-hearted), while non-Jain versions depict him negatively. The Jain narrative does not hold Shambuka's penance as a transgression or the cause of anyone's death. While the Ramayanas highlight caste hierarchy, Jain literature, though acknowledging castes, does not emphasize caste-based superiority or inferiority. Ravisen even considers a Chandal engaged in vows equal to a Brahmin.
  • Non-Jain Variations: Anand Ramayana portrays Rama granting a boon to Shambuka, emphasizing the power of chanting "Rama Nama." The Telugu Rangnath Ramayana and Kannada Torave Ramayana portray Shambuka as Ravana's son, killed by Lakshmana. Kuppali Venkatappa Puttappa's (Kuvempu) "Shudra Tapasvi" presents a different interpretation where Rama fails to harm Shambuka with a Brahma-astra and blames the Brahmin, highlighting the power of penance over caste.
• Conclusion: The Shambuka narrative has been adapted to serve various purposes: upholding Brahminical supremacy, establishing the concept of equality and non-violence (Jainism), and promoting the efficacy of chanting (Anand Ramayana). The study reveals how narratives evolve based on the social and religious contexts of their tellers.

4. Acharya Shakatayan (Palyakirti) aur Panini (Acharya Shakatayan (Palyakirti) and Panini)

• Author: Shri Ramkrishna Purohit
• Summary: This article delves into the comparative analysis of the grammatical works of Acharya Shakatayan (identified with Palyakirti) and Panini, two prominent figures in Sanskrit grammar.
• Key Points:
  • The Tradition of Sanskrit Grammar: The article begins by acknowledging the ancient tradition of Sanskrit grammar, with Panini's Ashtadhyayi serving as an inspiration for many later grammarians. It mentions the traditional eight grammarians and lists their works.
  • Panini's Mentions: Panini references several earlier grammarians, including Shakatayan, but the author suggests that the Shakatayan mentioned by Panini might be different from the one whose grammar is available today.
  • The Shakatayan Grammar of Palyakirti: The extant Shakatayan grammar, named "Shabdanushasan," is attributed to Palyakirti of the Yapaniya Sangha. The article notes that although the author is identified as Palyakirti, the work consistently refers to the author as Shakatayan.
  • Dating: The grammar's composition is estimated to be around the time of Amoghavarsha (815-817 CE), placing Acharya Palyakirti in the 9th century CE.
  • Amoghavritti: The commentary on Shakatayan's grammar, Amoghavritti, is also attributed to Shakatayan himself.
  • Relationship with Panini: The article highlights instances where Shakatayan cites or differs from Panini and Katyayana, indicating a familiarity with and often a divergence from Panini's work. This supports the argument that the available Shakatayan grammar is distinct from the one Panini might have referenced.
  • Simplicity and Innovation: Shakatayan's grammar is presented as an attempt to simplify Sanskrit grammar compared to Panini's. Shakatayan is credited with consolidating the work of Panini, Katyayana, and Patanjali into a single system, and addressing issues left unresolved by them.
  • Key Grammatical Differences: The article details several areas where Shakatayan's grammar differs from Panini's:
    • Nomenclature of Grammatical Terms: Shakatayan uses terms like 'Prakriti' for 'Anga', 'Aadhar' for 'Adhikaran', 'Du' for 'Vriddha', etc. He also omits certain Paninian terms like 'Karmapravachaniya' and 'Pratipadika'.
    • Definition of Vakya and Akhya: Shakatayan provides clearer definitions for 'Vakya' (sentence) and 'Akhya' (name/word derivation).
    • IT Sangya: Panini uses five sutras for IT sangya (the concept of a letter having an 'it' affix), while Shakatayan uses a single sutra, similar to Jainendra grammar.
    • Avyaya Sangya: Shakatayan consolidates Panini's five sutras for Avyaya (indeclinables) into a single, longer sutra, also incorporating the concept of 'Nipata' into Avyaya.
    • Pratyahara Sutras: Shakatayan's Pratyahara sutras (foundational phonetic lists) differ from Panini's, notably in the arrangement and inclusion of certain sounds. Shakatayan's system is considered more concise by omitting certain problematic repetitions found in Panini.
    • Sandhis: Shakatayan's system includes five sandhis (euphonic changes): Ac Sandhi, Nishedha Sandhi, Dvittva Sandhi, Hal Sandhi, and Visarjaniya Sandhi, while Panini's system outlines four.
    • Unique Contributions: Shakatayan's innovative rules for 'guna' sandhi and 'hrasva' in certain contexts are highlighted.
  • Influence: The article suggests Shakatayan was influenced by Jainendra grammar in some aspects and Chandran by others.
• Conclusion: The article concludes by emphasizing Shakatayan's unique contribution to Sanskrit grammar, noting his attempt to create a more accessible system, and highlighting his original contributions and the efficiency of his grammatical framework.

5. Munishri Depal: Jeevan aur Krutitva (Munishri Depal: Life and Works)

• Author: Dr. Sanatkumar Rangatiya
• Summary: This article provides biographical details and an analysis of the literary works of Munishri Depal, a prominent Jain poet and preacher from the late 15th century.
• Key Points:
  • Biographical Information: Depal, also known as Depa, was active in Gujarat. Early mentions of him appear in the works of Rishabhdas (Kumarpal Ras, 1670 CE) and Kanakvijayji (Kochar Vyavahari Ras, 1687 CE). These texts provide context about his association with figures like Desalhara Sahan and Kochara in Khambhat, and his presence in Gujarat. He is considered the "Adya Guru" (first teacher) of the present Bhojak community.
  • Depal's Personality and Preaching Style: Depal is described as a proud, unconventional, and witty preacher. His literary works reflect this personality, showcasing his eloquence and dramatic style. He chose challenging locations like Tharadh for preaching and engaged in intellectual discourse.
  • Dating: His earliest known work, "Thulabhadda Faka," is dated to 1473 CE. Other evidence suggests his active period was in the latter half of the 15th century.
  • Literary Works: Depal authored a significant number of works, primarily in Apabhramsha and Gujarati. These include:
    • Raas: Works like "Jirapalli Parshvanath Ras," "Bheemsingh Ras," "Abhaykumar Shrenik Ras," and "Jambu Swami Chaupai" are described as narrative poems that often included singing and dancing. The "Jirapalli Parshvanath Ras" notably depicts a pilgrimage with women from various regions.
    • Chaupai: "Chandanbala Chaupai" is a notable work detailing the life of Chandanbala, a significant Jain laywoman.
    • Faka/Bhas/Geet: Works like "Thulabhadda Faka," "Thulabhadda Bhas," and "Dhanna Shilibhadra Bhas" are also mentioned, with "Bhas" possibly referring to sections or chapters of larger works.
    • Other Works: The article also lists devotional songs and hymns like "Thavachasuta Geet," "Paliyatana Geet," and various stavan (praise hymns).
  • Themes and Style: Depal's literature primarily served the purpose of religious propagation. His works cover different aspects of Jain philosophy, including ethics, meditation, and stories of Jain heroes. He adeptly integrated moral teachings into his narratives, often using dramatic dialogue and vivid descriptions.
  • Contribution to Jain Literature: Depal is considered a significant poet of the 15th century whose works are valuable for studying the development of Jain Ras literature, the evolution of language, and the cultural milieu of that period.

6. Merutung ke Jain Meghdoot ka ek Sameekshatmak Adhyayan (A Critical Study of Merutung's Jain Meghdoot)

• Author: Shri Ravi Shankar Mishra
• Summary: This article critically examines "Jain Meghdoot," a poetical work by Acharya Merutung, in the tradition of Sanskrit 'duta-kavya' (messenger poetry). It compares it with Kalidasa's Meghaduta and highlights its unique Jain context.
• Key Points:
  • Duta-Kavya Tradition: The article begins by explaining the genre of messenger poetry, which typically focuses on themes of separation (viraha) and personification of nature. It acknowledges Kalidasa's Meghaduta as the seminal work in this genre.
  • Jain Adaptation of the Genre: Jain scholars adapted this secular genre for religious purposes, using it to narrate the lives of Jain Tirthankaras and great figures like Parshvanatha and Neminatha.
  • Acharya Merutung: The article identifies the author as Acharya Merutung, a disciple of Mahendrapal Suri of the Anchal Gaccha, belonging to the 15th century CE. His early name was Vastika or Vastupal. He was honored with the title 'Suri' and later 'Gaccha-nayak'.
  • "Jain Meghdoot": This work is based on the life story of the 22nd Tirthankara, Neminatha, and his beloved Rajimati. Unlike many later Meghaduta imitations, it is not a problem-solving exercise based on Kalidasa's verses but an independent composition.
  • Structure and Content: The poem has four cantos with a total of 196 verses, primarily in the Mandakranta meter. It depicts Rajimati sending a message to Neminatha, who has renounced worldly life just before their wedding to become a monk.
  • Narrative and Themes: The article analyzes Rajimati's lament, her dialogue with her companions, and her messages to Neminatha. It highlights her arguments for Neminatha to fulfill his duties, her philosophical points about attachment, and her ultimate acceptance of Neminatha's path. The poem explores themes of renunciation, true love, and the pursuit of liberation (moksha).
  • Literary Style: While praising Merutung's command over language and the poem's high literary merit, the author notes that the language is intentionally made complex, lacking the 'prasada guna' (clarity and grace) often found in simpler poetry. The poem's elaborate use of figures of speech (alankaras) sometimes overshadows the emotional content.
  • Comparison with Kalidasa's Meghaduta: While sharing the theme of a cloud messenger, Jain Meghdoot differs from Kalidasa's work in its religious focus, narrative structure, and lack of geographical descriptions.
  • Jain Message: The core message of Jain messenger poetry, as exemplified by this work, is the exaltation of the path of renunciation and spiritual discipline, presenting the ideal of the Shanta-rasa (peaceful sentiment) that leads to the cessation of desires and universal love.

7. Jainacharyon dwara Ayurveda Sahitya Nirman mein Yogdan (Contribution of Jain Acharyas to the Creation of Ayurvedic Literature)

• Author: Acharya Rajkumar Jain
• Summary: This article discusses the significant, yet often overlooked, contribution of Jain Acharyas to the field of Ayurveda, highlighting its integral place within Jain scripture and the rich tradition of medical texts composed by Jain scholars.
• Key Points:
  • Ayurveda as a Life Science: The author defines Ayurveda as a complete life science focused on maintaining the health of the healthy and curing the sick, but also encompassing spiritual well-being and liberation. It's considered a noble and pious pursuit.
  • Ayurveda in Jain Tradition: Ayurveda is recognized within the Jain tradition as an important subject, included within the "Dwadasanga" (Twelve Limbs of Jain Scripture), specifically in the "Pranavayu" section of the "Purva" Anga. This acceptance stems from the belief that it was taught by omniscient beings.
  • The "Pranavayu" Purva: This section of the Jain Agamas is described as containing extensive discussions on Ashtanga Ayurveda (the eight branches of Ayurveda), including treatments, remedies for poisonous creatures, and the principles of Prana and Apana.
  • Jain Ayurvedic Texts: Based on this scriptural foundation, many Jain Acharyas composed independent Ayurvedic treatises.
    • Kalyanakaraka by Ugradyacharya: This is presented as a significant work compiled from the Ardhamagadhi "Pranavayu" Anga into Sanskrit.
    • Vaishyasara: Attributed to Pujyapada Swami, though its authorship is debated, it's mentioned as a source.
  • Scholarly Output: Jain Acharyas were multidisciplinary scholars who contributed to various fields, including poetry, logic, philosophy, and medicine. Their Ayurvedic works demonstrate their profound knowledge and dedication to holistic well-being.
  • Lost and Uncatalogued Works: The author laments that much of this medical literature remains unpublished, lost, or in fragmented manuscript form, hidden in Jain Bhandars (libraries). He calls for further research to uncover and evaluate these valuable texts, which could shed light on forgotten aspects of Ayurveda.
  • Prominent Acharyas and Their Works: The article lists several Jain Acharyas and their contributions, including Pujyapada Swami, Samantabhadra, Jinacharya Virasena, Gun Sagar Gunanbhadra, Somadeva, Ratnakara Shrutasagari, and Pandita Ashadhar. It mentions specific works like Yogachintamani, Vaidyasaram, Kalpanakaraka, Yogaratnakara, and various others in Prakrit, Hindi, and Kannada.
  • Contrast with Other Fields: The author notes that while Jain literature in subjects like philosophy and poetry has received more attention and publication, Ayurvedic and Jyotisha (astrology) works have been neglected by the Jain community and institutions, despite their significant volume.
  • Conclusion: The article strongly advocates for the research and publication of Jain Ayurvedic literature to enrich the field of Ayurveda and establish the rightful place of Jain Acharyas in its history.

In essence, "Jain Sahitya ke Vividh Ayam" Vol. 1 presents a scholarly exploration of the multifaceted contributions of Jain literature, emphasizing its philosophical depth, historical context, literary richness, and comparative relevance to other Indian traditions. The selected articles highlight the comparative study of religious traditions, the literary depiction of key Jain figures, the evolution of narratives across cultures, the technicalities of Jain grammar, the life and works of significant Jain poets, and the extensive, yet underexplored, contributions of Jain scholars to Ayurveda.