Jinanam Panchkalayanakani - Book Summary

Here's a comprehensive summary of the Jain text "Jinanam Panchkalayanakani" by Shilchandrasuri, based on the provided pages:

Book Title: Jinanam Panchkalayanakani (The Five Auspicious Events of the Jinas) Author: Kavirupachandra Editor/Publisher: Vijayashilchandra Suri (ZZ_Anusandhan) Catalog Link: https://jainqq.org/explore/229454/1

Overview:

The text "Jinanam Panchkalayanakani" is a poetic composition that describes the five significant life events (Kalyanaka) of Jain Tirthankaras. The unique aspect of this particular composition, as highlighted by the editor Vijayashilchandra Suri, is that it follows the Digambara tradition of Jainism. While similar compositions are abundant in Jain literature, this one is presented because it's not widely known and adheres to the Digambara perspective, which differs in some details from the Shvetambara tradition.

The Five Kalyanaka (Auspicious Events):

The text outlines the five events that are considered auspicious for the entire universe:

Garbha Kalyanaka (Incarnation Auspiciousness): The event when the soul of the Tirthankara descends from the Devaloka (celestial realm) to take form in the mother's womb. Shvetambaras refer to this as "Chyavan Kalyanaka."
Janma Kalyanaka (Birth Auspiciousness): The moment of the Tirthankara's birth.
Diksha Kalyanaka (Renunciation Auspiciousness): The event when the Tirthankara renounces worldly life and takes initiation for spiritual practice. This is referred to as the "Third Kalyanaka" in this text.
Jnana Kalyanaka (Enlightenment Auspiciousness): The event when the initiated Tirthankara, through intense penance, eradicates karmas and attains Kevala Jnana (omniscience). This is the "Fourth Kalyanaka."
Moksha Kalyanaka (Liberation Auspiciousness): The event when the Tirthankara, upon death, attains Moksha (liberation).

These events are called "Kalyanaka" because they bring immense, albeit momentary, joy, bliss, and peace to all living beings in the universe. They are events that lead to the welfare of the world.

Digambara vs. Shvetambara Differences:

The introduction mentions that both Jain traditions, Digambara (clinging to nudity) and Shvetambara (clinging to clothes), recognize these five Kalyanaka. However, there are differences in their specific beliefs. For instance, Shvetambaras believe the Tirthankara's mother experienced 14 dreams, while Digambaras believe she experienced 16 dreams.

About the Author and Manuscript:

The author of this composition is identified as Kavirupachandra. His exact period is not readily available but is estimated to be before the manuscript's scribe.
The manuscript's scribe is Gani Sarupachand, who wrote it for "Nem Sagar." The use of "Gani" suggests they might be Shvetambara monks, although the composition itself is Digambara in its core tenets.
The manuscript dates back to Samvat 1868 (corresponding to 1811 AD).
The language of the composition is Braja-mixed Khadi Hindi, described as melodious, inspiring, and devotional.
It is composed in two meters: Trotak and Harigeet.
A notable poetic skill is mentioned where the last word of each Trotak verse becomes the first word (upaad) of the Harigeet verse.

Key Digambara Tenets Highlighted and Discussed:

The editor points out that while the composition generally adheres to Digambara beliefs, it also mentions an ancient Digambara belief that later Digambaras sometimes disregard or reject. This refers to the line in the fourth "dhal" (chapter/section): "सकल अरधमागधीय भाषा जानीइं" (We know the entire Ardhamagadhi language). This implies the Tirthankara preached in Ardhamagadhi.

The editor contrasts this with a later Digambara view that states: "Jinas do not speak languages; only 'Divine Sound' (Divya Dhwani) emanates from their throats." Furthermore, Ardhamagadhi is considered a very recent language. The editor suggests that the very inclusion of the "Ardhamagadhi" reference in this older composition helps illuminate the nature and perhaps the "inappropriateness" of these later Digambara interpretations.

Manuscript Acquisition and Transcription:

The five-page handwritten manuscript was obtained from the Bhandar (library) of Kutch-Navavas through the generosity of Shri Bhuvanachandra M. Sister Diptipragyashri Ji transcribed it into a readable copy.

Summary of Each Kalyanaka (as per the text):

Page 1 & 2: Introduction, identification of the text, its uniqueness, and the five Kalyanaka.
Page 3: Invocation, praise of the five supreme gurus, Goddess Saraswati, and Guru Gautam. The concept of the five Kalyanaka and their universal auspiciousness is reiterated.
Page 3-5 (Garbha Kalyanaka): Describes the descent of the Tirthankara's soul, Indra's role in preparing the divine city, the opulent city, the mother's dreams (16 are mentioned here, aligning with Digambara belief), the divine conception, and the joy of the parents.
Page 5-7 (Janma Kalyanaka): Details the earth-shattering events at the Tirthankara's birth, celestial music, the appearance of celestial elephants, the intricate details of the birth arena (lotuses, jeweled vessels), Indra's arrival, the divine child's worship by Indra and other deities, the celestial bath (Abhishek) using 1008 golden pitchers, and the grandeur of the event.
Page 7-9 (Diksha Kalyanaka): Describes the Tirthankara's perfect and pure body, his sweet speech, his inherent virtues, and his detachment from worldly pleasures (wealth, youth, family). It emphasizes the impermanence of these worldly things and the suffering of the soul. The arrival of Lokantik gods, their praise, and the Tirthankara's decision to take initiation (Diksha) are narrated. The text mentions the act of plucking out five handfuls of hair and accepting Mahavratas, renouncing all possessions. It then describes the progress through spiritual stages, overcoming karmas through penance and meditation, leading to the eradication of the four destructive karmas (Ghatiya Karma).
Page 9-10 (Jnana Kalyanaka): Focuses on the Tirthankara reaching the thirteenth spiritual stage (Guna Sthan), adorned with infinite virtues and powers. It describes the Samavsaran (divine assembly hall), its magnificent construction, the seating arrangements for various beings, the central throne, the three chatras (umbrellas), the divine canopy, the chowries, the Ashoka tree, and other auspicious attributes (Pratiharya). The preaching in Ardhamagadhi language is mentioned, emphasizing universal friendship. The text details the divine sound (Divya Dhwani) and its clarity, along with the various celestial musicians and their offerings. It lists the 18 defects (doshas) that the Tirthankara is free from, highlighting his Kevala Jnana.
Page 10 (Moksha Kalyanaka): Describes the Tirthankara, after preaching and guiding beings to the path of liberation (Ratan Traya), reaching the highest spiritual stage (Moksha). His body is described as dissolving into pure consciousness, free from all karmas. The text mentions Indra and other deities creating a divine illusionary form of hair and nails for worship. It concludes with the auspiciousness of hearing about the Moksha Kalyanaka and the blessings it bestows, such as eight siddhis and nine nidhis. The composition is attributed to Rupachandra, and the scribe is Gani Sarupachand.

Overall Significance:

"Jinanam Panchkalayanakani" by Kavirupachandra, as presented in this edition, is a valuable resource for understanding the Digambara perspective on the cardinal events of a Tirthankara's life. It offers a detailed poetic narrative, rich in devotional sentiment, and provides insights into specific Digambara beliefs and their historical context. The editor's meticulous work in identifying, presenting, and annotating this text is crucial for Jain scholarship.