Katharatnakosh Ane Tena Kartta Devbhadrasuri - Book Summary

Here's a comprehensive summary of the provided Jain text, "Katharatnakosh ane tena kartta Devbhadrasuri," based on the content you've shared:

Book Title: Katharatnakosh ane tena kartta Devbhadrasuri (Katharatnakosh and its Author Devbhadrasuri) Author: Punyavijay Publisher: Punyavijayji Catalog Link: https://jainqq.org/explore/230054/1

This document is a preface or introduction to the newly published ancient Jain text, Katharatnakosh, authored by Acharya Shri Devbhadrasuri. The publication aims to present this rare and valuable work to scholars and enthusiasts of Jain literature.

The preface is structured around several key points:

1. The Abundance of Indian Story Literature:

The author highlights that a vast majority of the population is not highly educated but possesses inherent understanding and practical wisdom.
These people are not inclined towards complex sciences like philosophy, mathematics, geography, or astronomy. Instead, they seek literature that is easily understandable, enriching their lives, and helping them navigate worldly and spiritual matters.
Ancient Indian maharshis (great sages) fulfilled this need by creating a wealth of stories, sub-stories, narratives, and historical biographies.
Story literature primarily connects with the common people, and due to their large numbers, this literature is vast, diverse, and presented in accessible language, catering to their specific characteristics.
This tradition of storytelling is equally rich in Jain, Vedic, and Buddhist traditions, and its influence extends beyond India.
While other branches of knowledge are important, storytelling serves as the primary means to make profound knowledge accessible to all. This is why scholars, both ancient and modern, have engaged in creating stories to inspire the masses towards virtues like renunciation, discipline, patience, forgiveness, detachment, service to living beings, truthfulness, lack of greed, and simplicity.

2. The Place of "Kathanuyog" (Storytelling/Narrative Tradition) in Jain Teachings:

Just as Vedic sages created epics like the Mahabharata and Ramayana for the common people, the Jain tradition also prioritizes the welfare of the masses.
At a time when the Vedic tradition became dependent on royalty and lost touch with the common people and their language, Jainism, through Tirthankar Bhagwan Shri Parshvanath and Shraman Bhagwan Shri Mahavir, represented the common people and adopted their natural language.
Jain teachings are divided into four main sections: Charanakarananuyog (conduct and discipline), Dharmakathanuyog (religious narratives), Ganitanuyog (mathematics/astronomy), and Dravyanuyog (metaphysics/substance).
Dharmakathanuyog, the most beloved by the common people, holds a special place.
Charanakarananuyog deals with the principles of good conduct and their practical application.
Dharmakathanuyog involves creating historical or narrative accounts of virtuous individuals (men and women) who have practiced good conduct, the benefits they derived, and the challenges they overcame.
The text emphasizes that without Dharmakathanuyog, the practice of Charanakarananuyog becomes difficult, and people are not attracted to it. Therefore, from one perspective, Dharmakathanuyog is paramount among the four Anuyogs.
Ganitanuyog deals with calculations related to cosmology and geography, while Dravyanuyog describes subtle subjects understandable only by the intellect, such as the soul, God, karma, and the nature of the world.
Only Dharmakathanuyog can reach the common people, making it significant compared to the other Anuyogs.
The Buddhist tradition also values storytelling, similar to Jain and Vedic traditions. In fact, the Buddhist tradition, like Jainism, is seen as more representative of the common people than the Vedic tradition.
The terms used in Buddhism are: Vinaya Pitaka for Charanakarananuyog, Sutta Pitaka for Dharmakathanuyog, and Abhidhamma Pitaka for Ganitanuyog and Dravyanuyog. The word "Pitaka" is similar to the Jain "Dvadashangi Ganipitaka," implying a "basket" or collection. Sutta Pitaka contains numerous stories.
The Jain Dharmakathanuyog, Buddhist Sutta Pitaka, and Vedic history are largely synonymous.
Dharmakathanuyog is likened to nutritious food and drink for the human body, nourishing the mind and leading to a disciplined, virtuous, and ultimately liberated state. It has a profound and lasting impact on individuals, shaping them into true humans and guiding them towards spiritual freedom.

3. Types and Subject Matter of Stories:

Acharya Shri Haribhadrasuri, in his Samaraichchakaha, classified stories into four types: Arthakatha (stories of wealth/material pursuits), Kamakatha (stories of desire/love), Dharmakatha (stories of righteousness/virtue), and Sankirna Katha (mixed stories).
Arthakatha: Focuses on wealth, arts, crafts, metallurgy, and policies for earning wealth.
Kamakatha: Focuses on desire, love affairs, romantic encounters, and aesthetic arts.
Dharmakatha: Focuses on virtue, such as forgiveness, humility, straightforwardness, charity, penance, self-control, truthfulness, and purity, which uphold and protect society.
Sankirna Katha: Incorporates religion, wealth, and desire, explaining them and providing justifications and examples for their balanced practice.
Among these, only Dharmakatha falls under Dharmakathanuyog. Ancient Jain Agamas like Gnātādharmakathāṅga, Upāsakadashāṅga, etc., primarily describe Dharmakathas.
Gnātādharmakathāṅga is said to contain 3.5 crore stories and an equal number of sub-stories, indicating the immense volume of religious narratives in Jain tradition.
While Dharmakathas might include descriptions of warfare, agriculture, trade, arts, etc., religion remains the primary focus, with other elements serving to support it. Conversely, Arthakatha and Kamakatha also contain religious elements, but wealth and desire are predominant.
The Katharatnakosh is a great work of Dharmakathas. Although it may include incidental descriptions of Arthakatha and Kamakatha, it is considered a Dharmakatha text due to its religious emphasis.
The subject matter of these stories can be divine, human, or divine-human. The stories in Katharatnakosh are predominantly human, with occasional divine-human elements.

4. Introduction to the Katharatnakosh Text:

The book is written in Prakrit, in prose and verse, with elegant and ornate composition, estimated to be around 11,500 verses.
It is a collection of 50 original stories, neither too short nor too long, but concise.
While primarily in Prakrit, the author also uses Sanskrit and Apabhramsha, especially for the four concluding verses and the pushpika (colophon) at the end of each story.
The collection includes stories related to 33 common virtues (like samyakva - right faith) and 17 specific virtues (like the five anuvratas - minor vows).
Unlike some Dharmakatha texts where worldly themes might diminish the religious aspect, Katharatnakosh meticulously avoids this.
Despite the near absence of erotic or other worldly sentiments, the author ensures that the reading or listening experience is not dry or dull for the speaker or listener.
The author clearly explains the nature of each virtue, elaborates on it, and discusses its merits, demerits, benefits, and drawbacks at the beginning, during the narration, and in the conclusion of each story.
In addition to the 50 virtues, the book discusses various other important topics, including: descriptions of gardens, seasons, nights, battles, crematoriums; benefits of associating with royal families; the path of virtuous people; the fault of suicide; travel; types of men; eight things to do, not to do, abandon, retain, and distrust; ethical subjects like hospitality; omens like sneezing; auspicious signs of royalty; physiognomy; signs of death; predicting calamities; gemology; and serious religious discussions on the nature of God, Guru, and Dharma, the doctrine of Guru-system, the nature of Ashta Pratīhārya (eight auspicious symbols), the doctrine of non-authorship of Vedas, consideration of Dharma principles, Ratnatraya (three jewels), Jinapratima (idol of Jina) in a fish and lotus, detailed Jinapuja (worship of Jina), general religious discourse, the debate on idol worship, refutation of the teachings of Hastitapasas and Shauchyavada, and the fault of eating root vegetables.
The author's mastery and vast knowledge are evident from the comprehensive nature of the Katharatnakosh.

5. The Author, Acharya Shri Devbhadrasuri:

Acharya Shri Devbhadrasuri is identified as an esteemed Acharya of the 12th century Vikram Samvat.
The Kharataragachchha Pattavali mentions his ordaining Shri Jinavallabhaganin in VS 1167 and Shri Jinatedra, disciple of Vacanacharya Shri Jaydevasuri, in VS 1169 as Acharyas. However, further details about him are scarce in these records.
Information about Devbhadrasuri, his background, caste, parents, year of initiation, and year of becoming an Acharya is not readily available.
Crucial information is gleaned from the prefaces and colophons of his own works: Mahavircharitra (written before becoming an Acharya in VS 1139), Thalna (written in VS 1158), and Pārśvanāthacharita (written in VS 1168).
The preface analyzes these works and reveals that Acharya Devbhadra was a disciple of Shri Sumativachaka.
Before becoming an Acharya, his name was Gunachandragani. In this capacity, he revised the Sangarangashala (a text on spiritual practice) in VS 1125 and composed the Mahavircharitra in VS 1161.
The relationships between Acharya Prasannachandra, Shri Devbhadra, and others are detailed through these prefaces, suggesting a close intellectual and spiritual connection.
The text strongly asserts that Gunachandragani and Shri Devbhadrasuri are the same person, based on shared references to patrons, lineage, and works like Mahavircharitra, Katharatnakosh, and Pārśvanāthacharita.
Besides these major works, he also composed numerous stotras (hymns) and philosophical texts like Pramanaprakash (?). His philosophical depth is evident in his hymns and the discussions within Katharatnakosh.
The philosophical chapters and hymns published at the end of this publication were found in a palm-leaf manuscript from the Patan Khetavasi Pada library.
The attribution of Pramanaprakash to Devbhadrasuri is based on the author's own inference due to its philosophical nature and its association with Devbhadrasuri's other works. The text acknowledges the possibility that this attribution might be incorrect.
The chapter specifically addresses the philosophical tenets of Shvetambara Acharyas.
In summary, Acharya Shri Devbhadrasuri was a profound storyteller, hymn composer, and learned philosopher.

Regarding his Gachchha (Sect/Lineage):

While his extant works do not explicitly mention his specific Gachchha, he identifies himself as "Vajialakhiya" and "Chandrakulina" (of the Chandravamsha lineage) in the detailed prefaces of his works. The preface acknowledges this self-identification.
The preface also discusses and dismisses altered readings found in some manuscripts (e.g., in Jaisalmer) that attempt to insert the term "Khartar" (referring to a different lineage) into the original text, deeming them historically unreliable and politically motivated.

6. Imitations and Quotations from Katharatnakosh:

The Katharatnakosh gained such prominence after its creation that other Jain Acharyas frequently imitated and quoted from it to enhance the prestige of their own works.
Shri Dharmakirti quoted extensively from Katharatnakosh in his Sanghachara Vidhi, a commentary on Acharya Shri Devbhadrasuri's Devavandanabhashya.
The work Guptatvasiddhi directly incorporates an entire chapter from Katharatnakosh.
Acharya Shri Jinaprabhasuri quoted several sections and verses from Katharatnakosh in his works like Vidhiprapā, Dhvajārohaṇavidhi, Pratiṣṭhāprakaraṇasaṅgraha, and Pratiṣṭhāvidhi.
The preface provides a comparative example of a story about a merchant named Shri Gupta, highlighting how the same story is presented in Katharatnakosh (in Prakrit) and Sanghachara Vidhi (partly in Sanskrit and partly in Prakrit), with significant textual parallels.
The chapter in Gurutattvasiddhi titled Sangarangashala is identified as originating from Katharatnakosh, thus establishing the precedence and influence of Devbhadrasuri's work.
The preface mentions several specific instances where verses and entire chapters from Katharatnakosh were incorporated into other works, emphasizing the text's foundational importance.

7. Manuscripts for the Research of Katharatnakosh:

Currently, three known manuscripts of Katharatnakosh exist:
- One in the palm-leaf manuscript collection in Khambhat (referred to as 'Kh' manuscript).
- One in the collection of Pravartakji Maharaj Shri Kantivijayji Maharaj in Vadodara (referred to as 'Pra' manuscript).
- One in the paper manuscript collection in Churu (Marwar).
The Khambhat manuscript is the most complete.
The Vadodara manuscript, once complete, is now fragmented with missing initial, middle, and end pages.
The Churu manuscript is on paper and represents the later part of the text.
The author details his use of the two most ancient palm-leaf manuscripts for his research.

Details of the Khambhat (Kh) Manuscript:

Located in the ancient and esteemed Shri Shantinath Jain Gyanbhandar in Khambhat.
Written on very fine palm leaves in beautiful script.
Contains 317 pages, with 3, 4, or 5 lines per page, and 127-140 letters per line.
The script's beauty is consistent throughout.
The manuscript measures 31 x 4.5 inches and has two holes for binding.
Despite being written in VS 1286, its condition is remarkably preserved.
However, this manuscript is very impure, with many missing passages and numerous errors in letters due to the scribe's lack of knowledge.
The preface of this manuscript contains a lengthy eulogy of the scribe and patron, which has been deliberately erased. Efforts were made to decipher parts of it. The deciphered portion is included, mentioning the completion date (VS 1286, Shravana Shudhi 3, Wednesday) and place (Prahladanpura).
The scribe's patrons and their lineage are also described.

Details of the Vadodara (Pra) Manuscript:

This manuscript is from the collection of Pravartakji Maharaj Shri Kantivijayji Maharaj in Vadodara but was originally sourced from the disorganized palm-leaf collection of the Patan Sangh.
It is written on beautiful palm leaves with a consistent and attractive script.
The end of the manuscript is missing, so the total number of pages is unknown. The existing pages range from 139 to 295.
Crucially, 31 pages are missing (17, 18, 201-227, 24, 25), making it a fragmented manuscript.
Despite being incomplete, this manuscript is largely accurate and has been very helpful in the research, filling in missing passages from the Khambhat manuscript.
It also contains some annotations on difficult words.
Some pages appear to have been rewritten, possibly based on a manuscript similar to the Khambhat one.
Each page has 5 or 6 lines, with 115-130 letters per line.
The manuscript measures 30 x 4.5 inches and is also bound with two holes.
The script and condition suggest it might be older than the Khambhat manuscript, though it is also slightly deteriorated.
The author notes that the original researchers have attempted to correct errors in this manuscript.

Comparison of Manuscripts and Editorial Approach:

The 'Pra' manuscript is described as being free from the script errors found in 'Kh'.
The 'Kh' manuscript has numerous inaccuracies due to the scribe's errors (e.g., confusion of letters like 'bh', 'v', 'm', 'n', 'r', 'l', 'sh', 's', 'h', etc.) and lack of distinction between long and short vowels (like 'i'/'ī') and single/double consonants.
The editor has attempted to correct these errors based on rules of script, the subject matter, the author's language, and metrical propriety.
Corrected words are placed directly in the text, with original incorrect readings provided in footnotes.
Where the 'Pra' manuscript provided support, the 'Kh' manuscript's errors were bypassed.
The editor notes the presence of "parasavarna" (conjoined letters) like 'jy', 'hy', 'g' and variations in words like 'sanchita' (written as 'sanchala') and 'sakshat' (written as 'sarva'). These have been retained as found in the manuscript.
The editor has also incorporated new text additions to complete passages, enclosed in square brackets [].
A specific printing error on page 101 (second page of the first folio) has been noted and corrected.
The editor humbly requests scholars to point out any remaining errors despite the utmost care taken.

Conclusion: The preface establishes Katharatnakosh as a significant and rare work by the learned Acharya Shri Devbhadrasuri, a versatile scholar in storytelling, hymn composition, and philosophy. The publication aims to make this valuable text accessible, highlighting its importance in Jain literature and its influence on subsequent works.