Jaypuri Kalam Ka Ek Sachitra Lekh

Here's a comprehensive summary of the Jain text "Jaypuri Kalam ka Ek Sachitra Lekh" by Bhanvarlal Nahta:

The article discusses the tradition of sending illustrated invitation letters (Vigyapti-patra) in Jainism, particularly to invite religious leaders (gurus) to spend the Chaturmas (four-month monsoon retreat) in a particular city. This practice played a significant role in promoting poetic and pictorial arts, resulting in the preservation of valuable visual records of contemporary cities, buildings, temples, gardens, and prominent individuals. These illustrated letters offer a window into the past, akin to a film, revealing customs, culture, and lifestyles.

The creation of these letters was a meticulous process. Painters would spend months creating elaborate illustrations, often resulting in scrolls hundreds of feet long. Following this, scholars would compose accompanying invitation texts, showcasing their poetic talent. These texts generally fell into two categories:

1. Kshamana Patra (Repentance Letters): Sent to monks during Chaturmas, these detailed the various religious activities and pilgrimgages planned.
2. Guru-gun-varnanatmak Lekh (Praise of Guru's Qualities): These were invitations written by the lay community (Shravak-sangh) to invite their revered gurus to their city, often bearing the signatures of prominent lay disciples. The illustrated letters predominantly belonged to this second category.

The author emphasizes the historical importance of publishing information about these illustrated invitation letters, stating it would illuminate blank pages of history and requests anyone possessing or knowing of such documents to share them. The earliest known illustrated Jain invitation letter dates back to the Jahangir era, belonging to Vijayasen Suri. A book titled "Prachin Vigyapti Patra" with illustrations was also published from Baroda.

The article then focuses on a specific illustrated invitation letter from the 20th century, sent from Azimganj to Muni Ratnavijay Ji in Gwalior, which was in the collection of Shri Surpat Singh Ji Dugad of Calcutta. This letter is described as particularly beautiful and artistically significant. A notable peculiarity is the absence of any mention of Azimganj itself within the letter, with only the names of the approving lay disciples serving as proof of its origin and destination (Bengal to Gwalior, Madhya Pradesh). The author posits that this is because the letter was likely illustrated and written in Jaipur, a city renowned for its art, and then sent without any modifications or specific dates, only requiring the disciples' signatures.

Details of the Illustrated Letter:

• Length and Width: 16 feet long and 11 inches wide.

• Illustrations:

  • Begins with an auspicious Purna Kalash (full pot) adorned with flowers.
  • A Chatra (umbrella) casting shade, with attendants (two men and two women) holding Mayur-pichikas (peacock feather whisks).
  • Depictions of the Ashta Mangalikas (eight auspicious symbols).
  • Charming depictions of the Chaturdasha Mahasvapnas (fourteen great dreams) of Mother Trishala. A tiger is depicted for an unknown reason within the sun motif. Mother Trishala is shown lying down, with four attendants around her bed and one sitting at the head.
  • A palace of King Siddhartha built in the middle of a garden, comparable to beautiful palaces in Jaipur.
  • A Jinalaya (temple) housing the idol of Shri Parshvanath Swami, with seven lay disciples observing from the assembly hall and three performing Panchanga Namaskar (prostration). One disciple is shown climbing the temple stairs, and two are exiting.
  • The Jinalaya is situated in a beautiful garden with various trees (mango, banana, ashoka, jhau) and colorful flowers. The main entrance of the temple is grand, and the gateway is two-storied with ornate golden work on a white background, featuring carved windows and lattice work.
  • The gateway is open on one side and closed on the other, with twelve guards (four on the right, eight on the left) armed with bayonets and wearing blue uniforms.
  • Five elephants are depicted with ornate attire. Three have howdahs (one with open curtains, one with covered curtains for women, and one with a "Mahe-Muratab" signifying royal honor from Jaipur). Each elephant has a mahout, and some have additional riders. A five-colored flag flies from one elephant. Two guards stand on the ground.
  • A group of horses, two white and two blue. One horse is mounted, while three are held by their reins. A rider is beating a drum, and two others appear to be standard-bearers.
  • Four camels are shown with riders carrying rifles, totaling six camels.
  • A large depiction of the army, with leading figures and 15 soldiers of a military band in blue uniforms.
  • Palanquins, chariots, camels, and horsemen are also present, with attendants walking ahead of the palanquins and chariots. One chariot's yoke is visible, with the oxen resting.
  • Four individuals holding external musical instruments are shown, along with two dancing women, against a backdrop of a garden and a bungalow.
  • Laywomen, in a dignified gait, are shown proceeding to welcome the monks. The leader among them carries an auspicious full pot on her head.
  • The city wall is depicted in pink, with a beautifully ornate gateway featuring golden work on a white surface. An influential person in royal attire stands with folded hands at the gateway.
  • The monks, including Muni Shri Ratnavijay Ji and his 11 disciples, are shown arriving. The monks are depicted wearing yellow robes and carrying rajoharan (dust-removing brush) and mukh-vastrika (mouth cloth), with the unusual detail of their cholpata (outer robe) also being yellow instead of white.
  • Lay disciples are present to welcome the monks.
  • A scene within a garden features a bungalow where Muni Shri Ratnavijay Ji is seated on a raised platform, with a large cushion behind him, which the author notes as an indication of the artist's lack of familiarity with monastic customs or a departure from established practices. An Sthapanacharya (installed preceptor) is seated before the Muni.
  • Lay disciples are adorned with valuable jewelry and dressed in silk and brocade. Four girls' faces are seen peeking from the bungalow's roof.
  • A young disciple stands behind the Muni.
  • In a courtyard, 15 laymen and 14 laywomen are seated on either side, listening to a discourse.
  • A part of the garden floor is shown with eight people singing and playing music, appearing to be Gandharvas (celestial musicians), with two people standing.

• The Jaipur City Scene: The final, and largest, illustration (15.5 inches long and 10 inches wide) depicts the city of Jaipur.

  • It shows sections of the city walls and gates (Chandpol, Sanganeer Gate, Ghat Gate).
  • The city is divided into eight sections due to three major crossroads, with buildings arranged in rows.
  • The houses are depicted in various colors, including pink, green, blue, and yellow.
  • The artist's meticulous detail is highlighted, with trees, men, women, elephants, horses, and chariots skillfully portrayed on the Jaipur highway.
  • Numerous recognizable landmarks of Jaipur are depicted, including Saragsooli (Isarlat), Jal Mahal, Siredeori, Tripolia, Johari Bazaar, and Hawa Mahal.
  • The outskirts of the city are filled with lush greenery, suggesting a dense forest environment.
  • Near the Sanganeer Gate, temples, tents, and camps are visible.
  • Motidoongri and Rani Ji Ka Mahal are in the foreground.
  • The background features the picturesque hilly landscape of Nahargarh, Jaigarh, and Amer fort.
  • The highest parts show the fort's ramparts, walls, and battlements.
  • Notable sites like Garh ka Ganesh, Surya Mandir, Galtaji, and Mohanwadi, along with gardens and ponds, are also depicted, offering a good representation of Jaypuri Kalam (Jaipuri art).

The Invitation Text:

• The article provides the beginning lines of the Sanskrit invitation text, which praises the spiritual qualities and learnedness of the invited Muni.
• It notes that the letter lacks a specific date or place of dispatch but confirms its origin from Azimganj based on the signatories' names. The descendants of the principal signatories are still alive.
• Inquiries with the descendants of Shri Surpat Singh Ji Dugad suggest the letter dates to around Samvat 1430 (approximately 1373 CE).
• The recipient, Muni Ratnavijay Ji, was an influential and respected monk of his time, and the author possesses some of his letters.

Conclusion and Significance:

• The author considers this illustrated invitation letter to be the last known example of such documents.
• Despite its relatively small size, the letter is highly valuable from an artistic perspective, offering a vivid portrayal of the devotional spirit of that era.
• The letter was created by Dadhich Nanalal of Jaipur, though the artist's name is not recorded, it is recognized as the work of a skilled artist.
• The article also briefly mentions other works by Jaipuri artists, like Ganesh Musawwar, whose paintings are displayed in a Jain temple in Kolkata, highlighting the far-reaching reputation and demand for Jaipuri art, with artists being summoned to Kolkata for temple commissions.

The latter part of the text shifts to a philosophical discussion on the meaning of "Shraman Dharma" and the concept of "Shram" (labor/effort) in its three forms: physical, intellectual, and spiritual (Ashram). It connects this to the noble qualities of true humans who embody universal compassion and selfless service, drawing parallels with the teachings of Mahavir and Gautam Buddha. This section appears to be a broader reflection on spiritual discipline and the essence of humanity, possibly included as a tribute to the recipient of the publication or as a general discourse.