Kshamakalyan Gani Ki Sanskruti Sathiya Sadhna

This document, "Kshamakalyan Gani ki Sanskriti Sathiya Sadhna" by Dr. Diwakar Sharma, published in the Z_Nahta_Bandhu_Abhinandan_Granth, focuses on the Sanskrit literary contributions of Mahopadhyaya Kshamakalyan Gani.

Here's a comprehensive summary:

Introduction to Mahopadhyaya Kshamakalyan Gani:

• Kshamakalyan Gani was a highly esteemed Jain scholar and literary figure of his time, renowned throughout India for his intellectual prowess.
• He was not only a prolific writer but also a formidable debater, skilled in Sanskrit discourse. The text quotes a description comparing his Sanskrit pronouncements to a lion's roar, vanquishing opponents with his sharp logic.
• He was born in 1801 Vikram Samvat (VS) in Kesaradesar, Bikaner district, belonging to the Malu clan of the Osha lineage.
• Possessing an innate inclination towards renunciation, he took his monastic vows at the tender age of eleven in 1812 VS from Pujyeshvar Shri Amritdhamji. His gurus were M.M. Shri Ratnasomji and Upadhyaya Shri Ramvijayji.
• After his initiation, he traveled extensively across Rajasthan, Gujarat, Madhya Pradesh, Bihar, Vidarbha, and Uttar Pradesh.
• Upon embracing monastic life, he dedicated himself to the worship of Saraswati (goddess of learning), resulting in the creation of hundreds of literary works in Rajasthani, Prakrit, and Sanskrit.
• Beyond literary creation, he also performed religious activities such as idol consecrations and consecration of monastic establishments. His biographical material indicates he was honored by the kings of Bikaner, Jaisalmer, and Jodhpur.

Guru Parampara (Lineage of Gurus):

• His gurus were also renowned exponents of religious doctrines. Kshamakalyan Gani mentions his guru lineage in the colophons of his works and in the historical Kharatargachh Pattavali:
  1. Shri Jinbhaktisuri
  2. Jinlabhsuri
  3. Preetisagar
  4. Amritdham
• He passed away in Bikaner in 1873 VS. A disciple composed a poignant Sanskrit elegiac poem (like an Urdu marsiya) in his memory, filled with deep sorrow and praise for his virtues.

Literary Contributions (Sahitya Sadhana):

• Kshamakalyan Gani possessed an admirable command of Sanskrit, Prakrit, and Rajasthani, authoring approximately 150 works of varying lengths during his lifetime, with 29 of them being solely in Sanskrit.
• Many of his handwritten manuscripts are preserved in the personal library of Shri Agarchandji Nahata, a prominent literary patron in Bikaner.
• His writings predominantly consist of commentaries (Tika), and he employed various forms of commentary, including Tika, Vritti, Churni, and Phakkika.

Notable Works:

1. Shripalcharitra Tika:

   • A commentary (Avachurni) on the Prakrit text "Shripalcharitra" by Shri Ratnashekhar Suri.
   • Although printed in letter form, the colophon was omitted in the printed version. A personal copy written by Kshamakalyan himself, with a detailed colophon, is available in Shri Agarchand Nahata's library.
   • The commentary was written at the request of his disciple Shri Gyanchandra Muni.
   • It uses the Khandanvay (fragmented analysis) method of textual interpretation.
   • The commentary is not just concise but provides detailed, integral explanations of each word and elaborates on philosophical points. It also incorporates beautiful idioms.

2. Jeevavichara Vritti:

   • A commentary on the key section of Dravyanuyoga (metaphysics) concerning the soul (Jeevavichara).
   • While many scholars wrote commentaries on this topic, Kshamakalyan's Vritti is considered the best by the scholarly community.
   • It was composed on the seventh day of the waxing moon in the month of Bhadrapada, 1850 VS.
   • The Vritti respectfully mentions his gurus, using a slightly modified verse from his Shripalcharitra commentary for guru remembrance.
   • The Vritti excels in clearly explaining the Prakrit sutras of the original Jeevavichara text in Sanskrit, making their essence easily understandable.

3. Tarkasangraha Phakkika:

   • Composed in 1828 VS.
   • This is a simple commentary on the Deepika commentary of Annambhatta's Tarkasangraha.
   • The author skillfully clarifies the meaning of the Deepika without offering independent criticism, showcasing his excellent explanatory style.
   • He follows the Khandanvay method for analyzing the text.
   • The Phakkika is particularly helpful in explaining the nuanced definitions, such as the explanation of "Upadhi" (concomitant).

4. Gautamiya Kavyam Tika (Gautamiya Prakash):

   • A detailed commentary written in 1852 VS on the epic poem "Gautamiya Kavyam" by his guru Pathak Shri Kuppachandra Gani.
   • This is considered his finest commentary among all his works.
   • It makes an earnest effort to clarify the profound and subtle ideas of the original author in a simple and delightful manner.
   • The commentary includes well-reasoned refutations of Buddhist, Vedanta, and Nyaya philosophies to establish Jain principles, demonstrating the author's strong scholarship, profound experience, and unmatched analytical ability.

5. Yashodharacharitram:

   • Composed in 1839 VS.
   • It describes in detail the transmigration through various life forms and the expiation of sin caused by a single act of wrongdoing.
   • The narrative follows the ten different births of a son whose mother forcibly made him consume the meat of a peacock. They were born as peacocks, dogs, mongooses, snakes, fish, crocodiles, goats, buffaloes, chickens, and hens, experiencing the fruits of their past actions.
   • The descriptive style and language clearly show the influence of Bana and Dandi. The advisory passage at the end of the work echoes the style of Shuknasopadesha from Kadambari.
   • The text also successfully emulates the prose style of Dashakumaracharita.

6. Holika Vyakhynam:

   • This is considered Kshamakalyan Muni's earliest discourse, composed in 1835 VS.
   • It is recited during the Holika festival.
   • The text emphasizes the importance of observances like fasting on religious festivals.
   • It specifies penances for actions during the Holika festival, such as throwing "gulal" (colored powder) into the fire.

7. Meru Trayodashi Vyakhynam:

   • Composed in 1860 VS during his stay in Bikaner.
   • It narrates the story of overcoming lameness through the observance of the Meru Trayodashi vrata (vow).
   • A prince, following the advice of Muni Gangil, observed this vow and was cured, later marrying the princess of Malay Desh.
   • The story is explained in simple language suitable for Jain lay followers, with concise and engaging sentences.

8. Chaityavandan-Chaturvinshtika:

   • In this work, Mahopadhyaya Kshamakalyan Gani offers praise to the 24 Tirthankaras in different meters.
   • Each Tirthankara's praise is presented in three verses, except for Mallijin, which has five verses, making the total 74 verses.
   • Due to its linguistic beauty and the eloquent expression of sentiments, this hymn is placed in the same category as the 'Kalyana Mandir' by Siddhasen Diwakar and 'Bhaktamar' by Merutunga in Jain devotional literature.
   • The colophon does not explicitly state the composition date, but the uniformity of poetic skill suggests it was composed over time.
   • The work utilizes various meters like Shardulvikridita, Malini, Sragdhara, Drutavilambita, Upendravajra, Bhujangaprayat, Trotaka, Vamsastha, Vasanta Tilaka, Harini, Rathoddhata, Mandakranta, Kamakrida, Gitapaddhati, Panchachamar, Upajati, and Prithvi. This mastery of meters, some of which are rarely seen elsewhere, highlights Kshamakalyan's broad poetic knowledge.
   • The adjectives used by Kshamakalyan to describe the Tirthankaras focus on their virtues and characteristics rather than physical attributes. For instance, Sambhavanatha is described as being in the state of peace and a benefactor of the universe, while Viraprabhu is known for his illuminating knowledge, beloved by the wise.
   • While some verses are filled with deep emotion, others, like the praise of Dharmanatha, showcase his skill in using rhyming words and alliteration.
   • Some verses are particularly attractive due to their sweet and delicate vocabulary.

Overall Assessment of His Literary Style:

• Mahopadhyaya Kshamakalyan possessed complete mastery over the Sanskrit language, maintaining a flowing style in expounding any subject.
• While his language in the Holika Vyakhynam might be somewhat concise, it becomes particularly expressive in the Meru Trayodashi Vyakhynam.
• In the advice section of Yashodharacharitram, he beautifully imitates and follows the Shuknasopadesha of Kadambari.
• His commentaries and Vrittis on Jain characters, epics, and philosophical texts are all executed in a high-quality commentary and Vritti style.
• Among his poetic commentaries, the commentary on Gautamiya Kavyam is considered the best from a scholarly perspective. This commentary features a brilliant critique of various philosophers like Buddhists, Vedantists, and Naiyayikas.

In essence, the document paints a vivid picture of Mahopadhyaya Kshamakalyan Gani as a towering figure in Jain scholarship and Sanskrit literature, whose multifaceted contributions enriched religious, philosophical, and literary traditions.