Jainashrit Chitrakalana Vikas Ma Anchalgacchiya Manikyakunjarasurij No Falo

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This document, "Jainashrit Chitrakalana Vikas ma Anchalgacchiya Manikyakunjarasurij no Falo" by Sarabhai Manilal Nawab, published as part of the "Arya Kalyan Gautam Smruti Granth," focuses on the significant contribution of Acharya Manikyakunjarsuriji of the Anchalgachha sect to the development of Jain art, specifically miniature painting.

The article highlights a beautifully illustrated manuscript from Vikram Samvat 1474 (1417 CE), written in Badmer, Rajasthan. This manuscript, containing 27 colorful paintings, is described as being of a high artistic caliber. A reference to Acharya Manikyakunjarsuriji within this manuscript is noted in "Jain Art and Architecture, Volume III," published by Bharatiya Gyanpith, New Delhi, specifically in Picture Plate 274.

The text then presents a Sanskrit inscription from the manuscript, dated Samvat 1474, which metaphorically describes the Jain religion as a Kalpavriksha (wish-fulfilling tree). It establishes a lineage within the Anchalgachha: Jinachandrasuriji was the disciple of Jinchandrasuri, who was succeeded by Sumatichandrasuri, then Padmadevasuri, Abhayadevasuri, Abhayasinghasuri, Gunasamudrasuri, and finally Manikyakunjarsuri.

The article further details that the manuscript was commissioned by a Shravak (lay follower) named Duda from the Shrimālī lineage, residing in Vagbhat-Meru Durga (modern-day Barmer). Duda and his wife Devaldevi had four prominent sons: Jesa, Hapa, Deiaya, and Apu, and a stepmother named Dulhadevi. In Samvat 1474, Duda and his family had this Kalpasutra manuscript prepared and presented it to Acharya Gunasamudrasuri and Acharya Manikyakunjarsuri.

The influence of Acharya Manikyakunjarsuriji is further demonstrated by a stone inscription found at the Bhomati temple on Mount Abu. This inscription, dated Samvat 1535 (1478 CE), mentions that a statue of Bhagwan Sumatinath was created through his teachings by Kelha, son of Haba, and his son Hansa, both from the Shrimālī lineage.

The author clarifies a potential confusion with another individual, stating that the assertion that the Acharya Manikyakunjarsuri mentioned here is the same as Manikyakhekharsuri, as suggested in "Anchalgachh Digdarshan" (p. 264), is not accurate.

Beyond the Kalpasutra manuscript, the article mentions other artistic creations associated with Acharya Manikyakunjarsuri. He is credited with commissioning a Yantrapat (diagrammatic chart) of the Surimantra for his own spiritual practice. This ancient colored Yantrapat on cloth was housed in the collection of the late Shri Kanakvimalsuriji in Bijapur, Gujarat. A photograph of this Yantrapat is published in the second volume of "Shri Surimantra Kalpasamuchchaya" (published by Shri Jain Sahitya Vikas Mandal, Mumbai in 1977). Additionally, a beautiful colored Yantrapata of the "Shri Rishimandal Yantra" commissioned by him was in the collection of the late Shri Punyavijayji. A colored plate based on this Yantrapata is in the author's father's collection.

These various artistic works strongly indicate Acharya Manikyakunjarsuri's profound love and dedication to Jain art and mantras. The article laments the scarcity of literature detailing the life of such a significant figure who fostered such high-quality artistic creations. The manuscript from Samvat 1474 refers to him as an Acharya, and the inscription from the statue in Samvat 1535 suggests he had a very long period of initiation and activity. If he became an Acharya in his early twenties, it's estimated his lifespan would have been at least 80-85 years. The artistic works themselves serve as living monuments to this great personality.

The text then shifts to discuss Acharya Merutungsuri of the Anchalgachha, who succeeded to the 11th position in the lineage. He was a master of mantras and was born in Samvat 1403 in Naninagar, Marwar, to Porwad parents Varsingh and Hanlet. His secular name was Vastig. He received initiation in Samvat 1410 from Acharya Mahendraprabhsuriji. He was appointed Acharya in Samvat 1426 in Anhilpur Patan by his guru, Acharya Mahendraprabhsuriji, during a grand festival organized by Sanghvi Narpa. He was given the title of Gachhanayak (leader of the sect) in Samvat 1446 and passed away in Patan in Samvat 1471 at the age of 68.