Kavyaprakash Ke Anuthe Tikakar Manikyachandrasuri

Here is a comprehensive summary of the provided Jain text, "Kavyaprakash ke Anuthe Tikakar Manikyachandrasuri" by Parul Mankad, focusing on the key aspects discussed in the article:

The article by Parul Mankad introduces Acharya Manikychandrasuri as a unique commentator on Mammata's seminal work on poetics, the Kavyaprakash. Acharya Manikychandrasuri was a prominent Jain scholar from Gujarat during the 12th-13th century CE, contemporary with the famous minister Vastupala. His commentary on Kavyaprakash is titled "Sanketa" (संकेत).

Key Contributions and Significance of Acharya Manikychandrasuri:

• Pioneering Jain-Gurjar Commentator: The article highlights Manikychandrasuri as the first Jain-Gurjar commentator on Kavyaprakash. While it's suggested that Acharya Hemachandra might have also written a commentary, it remains unavailable. This makes Manikychandrasuri's "Sanketa" a historically significant work.
• "Sanketa" as a Comprehensive Commentary: The "Sanketa" is described as a unique and rich commentary, comparable to a "Kanthā" (a patched garment) of a royal mendicant, filled with selections from numerous texts. It meticulously analyzes Kavyaprakash, clarifying complex sentences and offering textual corrections.
• Influence and Relationships:
  • Manikychandrasuri was a disciple of Acharya Sagarchandra of the Rajagachchha lineage.
  • There's an anecdote about his intellectual sparring and eventual reconciliation with minister Vastupala, which led to Vastupala gifting him copies of various scriptures.
  • He drew heavily from earlier commentators on Kavyaprakash, such as Ruyyaka and Bhatta Someshvara, both from Kashmir, whose commentaries were also titled "Sanketa." The article notes the interesting coincidence of these three early commentaries sharing the same title.
• Original Contributions and Scholarly Approach:
  • Manikychandrasuri is praised for his original contributions alongside his adherence to earlier scholars.
  • He engaged in critical analysis of Mammata's work, not hesitating to express disagreement when he found a point untenable.
  • His writing style is characterized as "Prasangambhira and Nirmalpravaha" (प्रसन्नगम्भीरा और निर्मलप्रवाहा) – clear, profound, and flowing.
  • He possessed a "sahṛday kavi" (सहृदय कवि) quality, evident in his creation of original examples to illustrate his points.
• Engagement with Philosophical and Literary Traditions:
  • Manikychandrasuri demonstrated a profound study of various philosophical systems, including Shaivism, Nyaya, and Vaisheshika, despite being a Jain monk.
  • He showed an impartial study of non-Jain literary texts, exhibiting a inclination towards the traditions of Anandavardhana and Abhinavagupta.
  • He made significant contributions to the discussion on rasa (aesthetic sentiment), particularly Shanta rasa (शांत रस), establishing its independent status in line with Abhinavagupta's views.
  • He frequently endorsed Abhinavagupta's "Abhivyaktivada" (अभिव्यक्तिवाद), considering Abhinavagupta the ultimate authority on rasa.
  • His work reveals a strong grasp of "Dhvani" (ध्वनि - suggestion) and its principles, aligning with the Dhvani tradition.
  • He also engaged with the nuances of "Lakṣaṇā" (लक्षणा - secondary meaning) and "Vyanjana" (व्यञ्जना - suggestion/indication), clarifying complex concepts and even refuting opposing views.
  • In his analysis of figures of speech (Alankaras), he was influenced by Ruyyaka's "Alankarasarvasva" and even quoted from it. He provided Gujarati equivalents for certain terms, showcasing his engagement with his regional language.
• Notable Analytical Points:
  • He interpreted Mammata's Kavya-lakṣaṇa (काव्यलक्षण - definition of poetry) as a "svarupalakshi" (स्वरूपलक्षी - intrinsic definition).
  • In the context of "asphuṭa alankara" (अस्फुट अलंकार - indistinct figure of speech), he presented a unique interpretation of Atishayokti (अतिशयोक्ति) as "bhede-abhedarupa" (भेदे-अभेदरूपा - having difference and non-difference).
  • He rejected the concept of "ubhayashakti mul dhvani" (उभयशक्ति मूल ध्वनि - dhvani originating from both denotation and indication) in the context of the "pandhi... etc." example, following Hemachandra.
  • He consistently supported the concept of "rasa-dhvanymanata" (रस-ध्वन्यमानता - the suggestive nature of rasa), refuting the idea of rasa being directly stated.
  • He attributed the authorship of Kavyaprakash to two individuals (Mammata and Alak or Allat), citing an ancient tradition.

Overall Assessment:

Acharya Manikychandrasuri is portrayed as a scholar of "asāmānya buddhi vaibhava, vyutpanna pāṇḍitya, aura mārmik rasa-jñatā" (असामान्य बुद्धिवैभव, व्युत्पन्न पांडित्य और मार्मिक रसज्ञता) – possessing extraordinary intellect, profound learning, and insightful aesthetic sensibility. His "Sanketa" is a testament to his deep understanding of poetics, his critical acumen, and his ability to synthesize diverse scholarly traditions. He is recognized for his significant contribution to Jain literature and the broader field of Sanskrit poetics, bringing glory to Gujarat ("Gūrjaradharā"). The article concludes by emphasizing the enduring value of his work, its refinement, critical eye, and erudition.