Jain Santa Aur Unki Rachnaye - Book Summary

Here's a comprehensive summary in English of the provided Jain text, "Prachin Malwa ke Jain Sant aur Unki Rachnaye" by Dr. Tejsinh Gaud:

This document, "Ancient Jain Saints of Malwa and Their Compositions" by Dr. Tejsinh Gaud, is part of the Sadhviratna Pushpavati Abhinandan Granth and focuses on introducing Jain saints who had a significant connection with the Malwa region of India and contributed to literary creation while residing there. The author acknowledges that saints are not bound by geographical limits and their field of influence is the entire world, but this work specifically highlights those associated with Malwa.

The document then proceeds to introduce several prominent Jain saints and their works:

Acharya Bhadrabahu: Considered the sixthacharya after Lord Mahavir, his significant works include 'Dasasau', 'Das Nijjuti', and the highly important 'Kalpasutra' in Jain literature.
Kshapanaka: A contemporary of Vikramaditya, he was one of the "Nine Gems" in the king's court. He is known for four famous works: 'Nyayavatara', 'Darshanashuddhi', 'Sammati Tark Sutra', and 'Prameyaratnakosha'. 'Nyayavatara' is particularly praised for its brevity and depth, encapsulating Jain logic within just thirty-two verses. Chandaprabh Suri wrote a detailed commentary on it called 'Nyayavatara Nivrutti'.
Shri Aryarakshit Suri: A renowned Jain Acharya from Dashpur (modern Mandsaur) around 57 CE. He was a profound scholar, master of all scriptures, and a spiritual philosopher. So many Jain sadhus from other sects sought his knowledge that being his disciple was considered a great fortune. His father was Somdev, a scholar, and his mother was Rudrasoma. His younger brother, Phalgurakshit, also became a Jain monk at his behest. Aryarakshit Suri classified the Agamas into four categories: Karana-Charananuyoga, Ganitanuyoga, Dharma-KathAnuyoga, and DravyaAnuyoga. He also composed the 'Anuyogdwar Sutra', a significant scripture expounding Jain philosophy. He passed away in Dashpur.
Shri Siddhasen Divakar: Considered by Pt. Sukhlalji as the originator of logic and logico-centric Sanskrit literature in the Jain tradition. He had a strong connection with Ujjain and Vikramaditya. His work, "Sanmati Prakaran," written in Prakrit, is the first in Jain literature to clearly and logically establish Jain views and tenets, serving as a foundation for later Shvetambara and Digambara scholars. He is also recognized as the first Sanskrit hymn composer in the Jain tradition. Pt. Brajkisor Chaturvedi highlights his importance as a logician and philosopher, respected by both Shvetambara and Digambara sects. His famous hymns are the 'Kalyan Mandir Stotra' (44 verses, praising Lord Parshvanath, with impressive poetic skill and wordplay, possibly authored by Kumudachandra, considered another name for Siddhasen) and 'Vardhaman Dvatrinshika Stotra' (32 verses, praising Lord Mahavir, characterized by grandeur and devotion, viewing Mahavir as Vishnu, Jagannath, etc.). Siddhasen Divakar also wrote a learned commentary on Umāsvāti's Tattvarthadhigamasutra. His period is estimated to be 550-600 CE.
Jinasena: Belonging to the Punnata Sampradaya (an old name for Karnataka), he was a disciple of Kirtisena. He is distinct from the Jinasena of the Panchastupa anvaya who followed lay disciple dharma. Jinasena authored the 'Harivansha Purana', a historically significant biographical epic, composed in Vardhamanpur (present-day Badnawar, Dhar district, Madhya Pradesh). It holds the third position among narrative collections in the Digambara tradition.
Harisena: Another Acharya of the Punnata Sangh, following a guru lineage of Mauni Bhattarak Shri Harisena, Bharat Sena, Harisena. He composed the 'Katha Kosh', a large work of twelve thousand verses, written in Sanskrit. It was composed in Vardhamanpur (Badnawar) during the reign of King Vinayakpal of the Pratihara dynasty, whose capital was Kannauj. A donation inscription from 688 CE exists for this king, and 'Katha Kosh' was composed about a year later, in 186 VS / 853 CE. The 'Katha Kosh' is considered the oldest among available narrative collections and contains 157 stories.
Mantunga: His life is subject to various conflicting accounts. Like Mayura and Bana, he composed hymn poetry. His 'Bhaktamara Stotra' is equally revered by both Shvetambara and Digambara sects and is so popular that numerous subsequent poets composed thematic stotras based on its verses.
Acharya Devsena: His work 'Darshan Saar' is mentioned as being composed in 660 VS at the Parshvanath temple in Dhar. He also wrote 'Alap Paddhati', a work on logic. His other works include 'Laghu Nay Chakra' (87 verses explaining the two primary standpoints and their nine sub-categories with examples) and 'Brihat Nay Chakra' (423 verses detailing the nature of standpoints and deposit methods). In the concluding verses of his work, he mentions that he initially wrote 'Davyasahaav-Payaas' (Dravya Swabhav Prakash) in Doha meter, but a friend suggested it wasn't suitable, so his disciple Malladhvala converted it into Gatha meter. These works are valuable for understanding Syadvada and Nayavada. He also wrote 'Aradhana Sar' and 'Tattva Sar'.
Acharya Mahasen: Described as the moon of Lad-Bagad, he was a grand-disciple of Acharya Jayasen and a disciple of Gunakarasen Suri. Mahasen was a master of principles, an eloquent speaker, a poet, and a profound scholar of Shabda Brahm. He was respected by the illustrious, a leader among the virtuous, and sinless. He was honored by the Paramara king Munj. He was the embodiment of right faith, knowledge, conduct, and penance, and a sun that blossomed the lotuses of the fortunate. He was also honored by Shri Parpat, the chief minister of Sindhuraj, at whose request he composed the 'Pradyumna Charitra' in the mid-11th century CE.
Acharya Amitgati the Second: A disciple of Madhavsen Suri of the Mathura Sangh, he was a gem in the court of Vakpati Raja Munj. He was a highly learned scholar with works on various subjects. His 'Panch-Sangraha' was created in 1073 VS in Masootikapur (near Masud Viloda, Dhar). These mentions indicate that Amitgati resided in and around Dhar. He composed many works over 23 years, from 1050 to 1073 VS. His 'Subhashita-Ratna Sandoha' has thirty-two chapters, each typically using a single meter, discussing various aspects of Jain ethics. It also presents contrasting views to Brahmanical thought, with criticisms of women and a chapter on courtesans. He states that Brahmins cannot match the Jinas because they are lustful after women, consume alcohol, and are sensual. His 'Shravakachar' is about 1500 Sanskrit verses in fifteen chapters, detailing the nature of Dharma, the distinction between wrong and right faith, the seven tattvas, worship, fasting, and the twelve bhavanas. His 'Yogasara' offers ethical and spiritual teachings in six chapters. Other works include 'Bhavana Dvatrinshatika', 'Aradhana Samayika Path', and 'Upasakachar'. 'Subhashita Ratna Sandoha' was composed in 668 VS, followed by 'Dharma Pariksha' twenty years later. Some of his works, such as 'Jambudvipa', 'Sardhadvayadvipa Prajnapti', 'Chandraprajnapti', and 'Vyakhya Prajnapti', are mentioned but not currently available.
Acharya Manikyanandi: A profound scholar of philosophy and a disciple of Trilokyanandi. He resided in Dhar and taught philosophy. His primary work is 'Parikshamukha', a text on logic containing 277 simple, elegant, and profound verses. His disciple Nayanandi describes him as a great scholar, adept in proofs, filled with the waters of knowledge, adorned with the waves of nayas, and possessing the lake of Jinashasana. His work is seen as the nectar drawn from the ocean of Acharya Akalankadeva's words.
Nayanandi: A disciple of Manikyanandi, renowned in poetic arts and a scholar of Prakrit, Sanskrit, and Apabhramsha, as well as prosody. His work "Sakal Vidhi Vidhan Kaha," composed in 1100 VS, is a lengthy khanda-kavya (narrative poem) that also provides significant historical material in its praise, mentioning his preceptors and contemporary scholars. His second work is 'Sudarshan Charitra', an Apabhramsha khanda-kavya from 1100 VS, which is comparable to Mahakavyas.
Prabhachandra: A prominent intellectual disciple of Manikyanandi, he wrote a skilled commentary on Manikyanandi's 'Parikshamukha'. He was also a scholar of scripture and philosophy and received patronage from King Bhoja. His extensive works include 'Prameya Kamalmartanda' (a commentary on 'Parikshamukha', written during King Bhoja's reign), 'Nyaya Kumudachandra' (on logic), 'Aradhana Katha Kosh' (prose), a commentary on Pushpadanta's Mahapurana, and 'Samadhitantra Tika' (written during King Jayasimha's time). Other works include 'Pravachana Saroj Bhaskara', 'Panchastikaya Pradipa', 'Atmanushasan Tilak', 'Kriyākalāpa Tīkā', 'Ratnakaraṇḍa Tīkā', 'Brihat Svayambhu Stotra Tīkā', and 'Shabdāmbhoja Tīkā'. He also wrote a descriptive note on difficult words in Devnandi's Tattvartha Vritti. His period is the latter half of the 11th century and the first half of the 12th century. Works like 'Ashta Pahud Panjika', 'Mulachara Tika', and 'Aradhana Tika' are also attributed to him but are not available.
Ashadhar: A highly learned scholar of Sanskrit literature. Originally from Mandalgarh, he moved to Dharanagari, the capital of Malwa, due to the invasions of Shahabuddin Ghori. Dhar was a center of literature and culture, where he pursued advanced studies in grammar and logic. He attained spiritual knowledge in Nalakacchapur (present-day Nalchha), where the Nemnath temple became a hub for his literary activities. He spent about 35 years there, dedicated to literary creation. Ashadhar was multifaceted, writing on poetry, rhetoric, lexicography, philosophy, religion, and medicine. He was a proponent of liberal religious views. His works include:
- Sagār Dharmāmṛta: Describes the transgressions of the seven vices, the daily routine of a householder, and the state of meditative practice. It has about 500 Sanskrit verses, covering general householder dharma, the eight fundamental virtues, and eleven stages of practice. It details the daily routine of a householder within the vow stages. The final chapter elaborates on samadhi-maran (meditative death). The composition style is poetic. The author's own commentary is available, dating its completion to 1296 VS / 1236 CE.
- Prameya Ratnakara: Establishes the principles of Syadvada.
- Adhyatma Rahasya: (72 Sanskrit verses) Discusses self-purification, self-realization, and experience from the perspective of Yoga. Ashadhar mentions this in his commentary on 'Anagar Dharmamrita'. An ancient manuscript indicates it might be the eighteenth chapter of Dharmamrita, also known as 'Yogiddipana'. It was composed at his father's behest for yogis. His other works include 'Dharmamrita Mool', 'Jnana Deepika', 'Bhavya Kumud Chandrika' (commentary on Dharmamrita), 'Mulārādhanā Tīkā', 'Ārādhanā Sāra', 'Nityamahodyota', 'Ratnatraya Vidhana', 'Bharateshwara Abhyudaya' (a Mahakavya describing Bharat's prosperity, also called 'Siddhachakra' because the word 'siddhi' appears at the end of each canto), 'Rajmati Vipralambha' (a khanda-kavya), 'Ishtopadesha Tika', 'Amara Kosha', 'Kriya Kalpa', 'Kavya Alankara', 'Sahastra Nama Stavana Tika', 'Jina Yajna Kalpa Tika' (also called 'Pratishtha Saroddhara', part of Dharmamrita), 'Trishashti', 'Ashtanga Hridyodyotini Tika' (commentary on Vagbhata's Ayurveda text), and 'Bhupala Chaturvinshati Tika'.
Shri Chandra: A resident of Dhar, an Acharya of the Lad Bagad Sangh and Balakar Gana. His works include commentaries on Raviṣena's Padma Charitra, Puraṇasāra, Pushpadanta's Mahāpurāṇa, and Shivakoti's Bhagavati Aradhana. He composed these works in the latter half of the 11th century CE (1080 and 1067 VS).
Bhaṭṭāraka Shruta Kirti: A scholar of the Nandi Sangh, Balakar Gana, and Saraswati Gaccha, and a disciple of Tribhuvan Murti. He was proficient in Apabhramsha language. Four of his works are available: 'Harivansha Purana', 'Dharma Pariksha', 'Paramishthi Prakash Sar', and 'Yogasara'.
Poet Dhanpal: Originally a Brahmin, he converted to Jainism through his younger brother. He was a gem in the scholarly assembly of Vakpati Raja Munja and was given the title 'Saraswati' by Munja. He had equal command over Sanskrit and Prakrit. His time is definitively established as the 11th century. His works include: 'Paayalacchi Nama Mala' (Prakrit lexicon), 'Tilak Manjari' (Sanskrit prose), a Sanskrit commentary on a hymn by his younger brother Shobhan Muni, 'Rishabh Panchashika' (Prakrit), 'Mahavir Stuti', 'Satya Puriy', 'Mahavir Utsaha' (Apabhramsha), and 'Virathui'.
Merutungaacharya: He wrote his famous historical work 'Prabandh Chintamani' in 1361 VS, comprising five sections. He also composed 'Vichar Shreni', 'Sthaviravali', and 'Mahapurusha Charita' or 'Upadesha Shatak', which contains information about Rishabhadeva, Shantinath, Neminath, Parshvanath, and Vardhamana.
Taran Swami: The founder Acharya of the Taran Panth. He was born in Pushpavati Nagari in 1448 CE and educated under Shrutsagar Muni. He composed 14 works, including 'Shravakachar', 'Mala Ji', 'Pandit Puja', 'Kamalbattisi', 'Nyaya Samuchchaya Sar', 'Upadesha Shuddhasar', 'Tribhangi Sar', 'Choubisthana', 'Mamlapahu', 'Sunna Swabhav', 'Siddha Swabhav', 'Khat Ka Vishesh', 'Chhadmasthavani', and 'Nama Mala'.
Dharmakirti: He composed the 'Padma Purana' in Sarojpuri (Malwa). His guru was Bhattarak Lalitkirti. He completed his work in 1669 VS, and a manuscript from 1670 VS addresses him as Bhattarak, indicating he became a Bhattarak after completing the 'Padma Purana'. His second work is the 'Harivansha Purana', completed on Ashwin Krishna Panchami, Sunday, 1671 VS.

The author concludes by stating that due to the extent of the topic, he is pausing his writing. He encourages scholars to conduct further research to bring more lost literature to light, as only a few Jain saints and their works have been mentioned here. Deep study of this subject could lead to a significant research thesis.