Khartargaccha Ke Sahitya Sarjak Shravakgan - Book Summary

Here's a comprehensive summary in English of the provided Jain text, "Khartargaccha ke Sahitya Sarjak Shravakgan" by Agarchand Nahta:

This book, "Khartargaccha ke Sahitya Sarjak Shravakgan" (Literary Creators of the Khartargaccha – Lay Disciples), by Agarchand Nahta, explores the significant contributions of lay disciples (Shravaks) within the Khartargaccha tradition of Jainism to the world of literature.

The text begins by establishing the foundation of Jainism, highlighting the two primary paths of spiritual practice: the "Angar Dharma" (ascetic path followed by monks and nuns) and the "Sagar Dharma" (lay path followed by householders). It emphasizes that while Jain monks and nuns are the primary custodians of spiritual knowledge and literary creation due to their focused lives on study and contemplation, lay disciples, despite their worldly responsibilities, have also played a crucial role in composing and preserving literature.

The book then delves into the specific literary contributions of Khartargaccha lay disciples throughout various centuries:

Early Period (11th Century onwards):

Dhanpal: A prominent poet, Dhanpal is considered the first significant lay disciple literary figure of the Khartargaccha. His father, Jineshwar Suri, was a friend of Somtilak Suri, the author of "Samaktva Saptasadhaka." Dhanpal's brother, Shobhan, was a disciple of Jineshwar Suri. Dhanpal's renowned works include "Tilakamanjari" (a remarkable story), "Rishabhapanchashika," "Sachchauri Mahaveer Utshah," and "Jinapuja va Shravak-Vidhi Prakaran." His works are found in Prakrit, Sanskrit, and Apabhramsha.
Padmanand: A disciple of Jinadatta Suri, Padmanand was a skilled Sanskrit poet and son of Dhanadev Shravak from Nagaur. His "Vairagya Shatak" has been published.
Pallahakavi: Another disciple of Jinadatta Suri, Pallahakavi composed "Jinadatta Shravak Stuti," a palm-leaf manuscript found in the Jaisalmer Bhandar, which has been published in "Aitihasik Jain Kavya Sangrah."
Kapoormal: A lay disciple of Jinadatta Suri, Kapoormal composed "Brahmacharya Parikaran" (45 verses) during the time of Manidhari Jinachandra Suri. His "Jinachandra Ashtak" was also published in the second edition of the "Manidhari Jinachandra Suri" work.

13th-14th Centuries:

Nemichandra Bhandari: Gifted by Vadivijeta Jinapati Suri, Nemichandra Bhandari became an officer in the Delhi Sultanate's treasury. His son, Hempal, took initiation from Jinapati Suri and became Jineshwar Suri. Nemichandra Bhandari was a learned scholar whose "Shashtishatak Prakaran" in Prakrit was recognized not only by the Shvetambara but also by the Digambara community, with several commentaries and simpler explanations available. He also authored "Vastushastra Sambandhi Vastushara" (205 verses on architecture) and "Jyotishsar" (243 verses on astrology) and "Ganitsara" (311 verses on mathematics). His work "Dhatotpatti" (57 verses on metallurgy) was published in the UP Historical Journal.
Rayan and Kavitabhakt: Two devoted lay disciples of Jinapati Suri, Rayan and Kavitabhakt, composed "Jinapati Suri Dhaval Geet" (20 verses), published in "Aitihasik Jain Kavya Sangrah."
Jhagadu: A lay poet during the time of Mudranajiswara Suri, Jhagadu composed "Mai Chaupai" in 1331.
Thakur Pheru: A highly prolific author from Kannana, Thakur Pheru was a significant figure. His works include "Yugapradhan Chaturpadika" (26 verses in Apabhramsha, composed in Magha under the guidance of Rajshekhar Vachak), which was published with Sanskrit commentary and Hindi translation. He was the son of Shreemal Dhandhiya Chand. His works, especially "Ratnapariksha" (1372 AD), which provides a scientific description of ancient Indian coins, are invaluable for historical research. He also authored "Bhubhargaprakash" (51 verses), though it hasn't been found yet. The collected works of Thakur Pheru have been published as "Ratnaparikshaadi-Sapt-Granth Sangrah" by Rajasthan Prachya Vidya Pratishthan, Jodhpur.

14th-15th Centuries:

Lakshmisinha: A lay poet, Lakshmisinha, grandson of Viradas and son of Hamir, composed a commentary on the difficult work "Sanghapattaka" of Jinavallabha Suri at the young age of sixteen in 1511 AD.
Samadhar: A lay poet of the 14th century, Samadhar composed "Neminath Phagu" (14 verses).
Vidhanu: A lay disciple of Jinodaya Suri, Vidhanu composed "Gyanpanchami Chaupai" in 1421 AD. He was the son of Thakur Mahel, and a manuscript is available in the Patan Sangh Bhandar.

15th-16th Centuries:

Mandan: A great Sanskrit scholar and lay poet of the Khartargaccha, Mandan resided in Mandavgadh and was a devoted follower of Acharya Jinbhadra Suri. He authored numerous works on diverse subjects like grammar, poetry, literature, rhetoric, and music, more than any other lay disciple. His father was Vahad, son of Soniigira of the Shreemal caste. Mandan's brother was Dhana, or Dhanad. Both brothers were wealthy and highly learned. Mandan's works, including "Kavyamandal," "Champumandan," "Kadambari Mandan," "Shrigar Mandan," "Alankar Mandan," "Sangeet Mandan," "Upsarga Mandan," and "Sarasvata Mandan," are preserved in the Patan Bandi Parshvanath Bhandar, with some published in "Mandan Granthavali."
Dhanad (Dhanraj): Mandan's brother, Dhanad, was also a learned scholar. He wrote "Dhana Trishati," a work in the style of Bhartrihari's "Shatak Trayi," which has been published in "Nirnaysagar Press Kavyamala." Both brothers praised Acharya Jinabhadra Suri in their writings, and under his guidance, they compiled a large "Siddhanta Kosh."
Lakhamasiah: A lay disciple of Jinachandra Suri, Lakhamasiah composed "Jinachandra Varnanaras" (47 verses), found in the Jaisalmer Bhandar.
Lakhpat: A lay poet from the Khartargaccha, Lakhpat, son of Kukad Chopda Tejasi of Sindh, composed "Tiloyasundari Mangalkalash Cho" in 1661 AD. His "Mrigankalekha Ras" was composed in 1664 AD.

17th Century:

Banarasidas: Considered the foremost Hindi Jain poet, Banarasidas was the son of Khadgasen Viholiya of the Khadga caste from Jaunpur. He studied under Bhanuchandra Gani and initially composed works aligned with the Shvetambara tradition. Later, through his study of Digambara texts like "Samaysar" and "Gommatasara," he gravitated towards the Digambara sect. His spiritual teachings became known as "Banarasidas-mat" or "Adhyatmamata," which later became the "Terapanth" within the Digambara sect, with millions of followers. His works include "Samaysar," "Banaras Vilas," and "Namamala." He is recognized as a specific poet of the Khartargaccha, and his adherence to it is mentioned by Upadhyay Meghavijaya in his play "Yukti-Prabodh."

18th Century:

Udayachand Mathevan: A poet from Bikaner, Udayachand Mathevan was honored by Maharaja Anupsingh. He composed "Anup Shringar" in Hindi in 1728 AD. He also authored "Panditya Darpan."
Malukchand: A poet who composed a Hindi verse translation of the Persian medical text "Tivvasahavi" as "Vaidyuhulas." Although he doesn't provide his personal details or the exact date of composition, several manuscripts have been seen in Khartargaccha knowledge repositories, suggesting his affiliation.

19th Century:

Sabalasingh: A lay poet from Ajimganj-Maksudabad, Sabalasingh composed "Chaubis Jin Stavan" and "Viharman Bosso" in 1891 AD. He mentioned composing these works with the grace of Jinharsha Suri.
Ratnakunwarbibi: The grandmother of Raja Shivprasad Sitarehind, Ratnakunwarbibi, daughter of Raja Vachraj Nahata of Lucknow, composed the Hindi poem "Premratna" in 1844 AD. She was highly learned and inclined towards devotion.
Amarachand Bothra: A devoted follower and poet of the Khartargaccha from Nathnagar, Amarachand Bothra composed two "Chauvissiyan," which have been published. He was initially a Terapanthi but became a temple-observing follower after extensive debates with Jinayasha Suri Ji Maharaj. He had a deep understanding of Khartargaccha practices and philosophy.

20th Century:

Raja Shivprasad Sitarehind: A highly respected figure, Raja Shivprasad Sitarehind was a prolific author of many published works. His grandmother was Ratnakunwarbibi.
Dhalchand: A lay disciple for whom several Khartargaccha institutions planned to provide education, unfortunately, this plan did not materialize.

The text also highlights the crucial role of lay disciples in the establishment and growth of knowledge repositories (Gyanbhandars). They spent considerable wealth to get thousands of manuscripts written and encouraged poets through awards. Many lay disciples were learned scholars who, although they didn't have the opportunity for extensive literary creation, engaged in deep study, favored scholarly company, and posed profound questions to learned monks, the answers to which are found in various question-answer texts. The text mentions Raichand Ji, who composed a verse translation of the Kalpasutra in 1838 and also wrote "Vichitra Malika" and "Avayadi Shakunavali."

The author concludes by emphasizing the ongoing need for learned lay disciples to engage in the editing, publication, and creation of new literature for the Khartargaccha. There is also a call for establishing proper systems to educate curious students and develop them into scholars.

In essence, "Khartargaccha ke Sahitya Sarjak Shravakgan" is a detailed account of the significant, often underappreciated, literary legacy of the lay followers of the Khartargaccha, showcasing their intellectual prowess and dedication to preserving and enriching Jain literature across centuries and languages.