Mahakavi Raidhu Ki Ek Aprakashit Sachitra Kruti Pasnahac Chariu

This document is an article by Prof. Dr. Rajaram Jain titled "Mahakavi Raidhu ki Ek Aprakashit Sachitra Kruti Pasnahac chariu" (An Unpublished Illustrated Work of Mahakavi Raidhu: Pasnahac chariu). It is part of the "Z_Nahta_Bandhu_Abhinandan_Granth_012007.pdf" publication and is for private and personal use only.

The article introduces "Pasnahac chariu", an unpublished illustrated poetic work by the medieval great poet Raidhu. The text focuses on Tirthankara Parshva, who has been a significant figure in Indian ethics, philosophy, history, and culture since the early 19th century. Numerous scholars, both Western and Indian, have proven his historical significance and analyzed his universal persona. Parshva is also mentioned in ancient Jain and non-Jain literature and art.

Raidhu, a prominent poet from the medieval period, composed "Pasnahac chariu" in the Sandhyakalin Apabhramsha language in the cultural city of Gopachal. This work, considered a more mature literary creation than Raidhu's other works, is referred to by the poet himself as "Kavya Rasayan" (Essence of Poetry).

Key features of the "Pasnahac chariu" manuscript as described in the article:

• Structure: The manuscript has 77 x 2 pages, divided into 7 sections (sandhis) and 136 couplets (kadwaks). It also includes 5 introductory verses in mixed Sanskrit.
• Content:
  • The first and last sections detail the poet's patrons, contemporary rulers, and the social, religious, and historical conditions of that era.
  • The remaining sections beautifully describe the life events (kalyanakas) of Tirthankara Parshva.
  • Illustrations: The work is richly illustrated with a total of 64 pictures, including tricolor, bicolor, and multicolor paintings. These illustrations were strategically placed by the scribe, with blank spaces left for the artist to fill in. The paintings are described as attempts at ornamentation.
• Artistic Depiction of Figures:
  • Male Figures: Hair is depicted in a peculiar backward curl. Beards and mustaches resemble pasted brushes. Eyes are prominent and bulging. Noses are sharp, hooked, and downward-sloping. Chin is almond-shaped. Necks have folds. Hands and feet fingers are somewhat shapeless, resembling cloth wicks. The chest is so prominent it sometimes resembles female breasts. Clothing is minimal (an upper and lower garment), with the upper garment's end often shown fluttering.
  • Male Attire: The lower garment is shown with pleats. The attire is described as somewhat thick but ornate.
  • Male Ornaments: Some figures wear jeweled golden crowns, earrings, armlets, and bracelets.
  • Deities: Deities are shown semi-naked, wearing colored lower garments reaching below the knees, with pleats flying forward. Their left hand is lowered, and the right hand holds a chavar (fly-whisk) over the Tirthankara. They wear ornate golden crowns covering their foreheads and ears, large circular earrings, multi-stranded necklaces with thick beads, and thick bangles and armlets.
  • Female Figures: Eyes are large and fish-shaped with small pupils, and the eyeliner extends to the ears. Hair is braided and tied in a bun at the back of the head. Noses are large and sharp. Mouths and noses sometimes appear to merge. Lips are wide, chin pointed and small. Ears are oval and small. Breasts are circular and very raised, perhaps exaggerated by the artist. Waist is very narrow, sometimes appearing invisible. Necks are somewhat long and outlined. All bodies are depicted as well-built.
  • Female Attire: Lehengas, odhanis (veils), and cholis are prominent, with the abdomen clearly visible. Sometimes the odhani is absent.
  • Female Ornaments: Earrings are twice the size of the ear, circular. Necklaces have large beads. Hands have multiple bangles. Small nose studs are worn. Anklets are on the feet, and tikas are on the forehead. Deities (Devanganas) have minimal differences in depiction compared to human females.
• Manuscript Condition: The manuscript is old and in a state of decay. Each page has 11 lines, with approximately 14-16 words per line. Black ink was used, but red ink was used for colophons, and white ink for corrections or indicators.
• Raidhu's Time: Based on various internal and external evidence, the author places Mahakavi Raidhu between 1440 and 1530 VS (Vikram Samvat).
• Manuscript's Antiquity and Authenticity: This manuscript is exceptionally old, with a colophon dating it to 1498 VS (Magha Krishna 2, Monday). This makes it the oldest known manuscript of Raidhu's literature. The clear script, consistent handwriting and ink, the scribe's dedication, and the possibility that it was written during or under the poet's supervision, or commissioned by his patron's son, contribute to its high authenticity.
• Completeness: Unlike many ancient manuscripts that are often found incomplete, this copy is fortunately preserved in its entirety. This completeness is a significant achievement, especially for a work that sheds historical light on art, particularly Jain painting.
• Thematic Significance of Illustrations:
  • Portrait of Raidhu's Guru Tradition: One particularly attractive illustration depicts five individuals. Three are kneeling, with two standing in front. The central figure, likely Mahakavi Raidhu's guru, Bh. Sahasrakirti, is shown giving a discourse, with his disciples Bhattarak Gunakirti, his brother and disciple Bh. Yashakirti, and Yashakirti's disciples Khemdhan and Mahakavi Raidhu listening. This depiction is supported by parallels in other illustrated Jain manuscripts. This provides a rare glimpse into the visual representation of a great poet and his lineage.
  • Depiction of Saraswati: Another prominent illustration on the right side shows a four-armed Saraswati holding a book in one right hand and a veena in the left. The background depicts a building with a large spire and smaller structures. Raidhu was a great devotee of Saraswati, often calling himself her abode.
• Artistic Style and Influences:
  • Facial Features: Women's eyes are large, pupils small, eyeliner extending to the ears. Hair is braided and tied in a bun. Noses are sharp. Lips are wide. Chins are pointed. Breasts are exaggerated.
  • Movement: Figures appear active and as if ready to move.
  • Nature Depiction: Rivers, lakes, gardens, trees, and grass are depicted, but they lack the vibrancy and realism expected. Trees resemble heaps of leaves on a thin stick. Forests look like random colored lines. Garden plants appear artificial.
  • Battle Scenes: Soldiers with shields, swords, and spears are shown in colorful attire.
  • Color Palette: Primarily primary colors like red, yellow, and white are used. Red and yellow dominate the background, with occasional green. The application of colors is sometimes described as rough.
  • Artistic Qualities: Despite some flaws like lack of detail and slavish adherence to tradition, scholars like Mr. Brown, Stella Kramrisch, and Nanalal Mehta note purity, dynamism, and speed in these Jain-style paintings. They are considered outstanding in expressing emotions. The limited color palette is vibrant, and the technique of color application is insightful. While the lines are thick, the looseness of the hand, the shapelessness of the limbs, and the puppet-like eyes contribute to a distinct style that represents its era. This style was prevalent in Gujarat, Madhya Pradesh, Malwa, and South India, and its influence extended to Bihar, Bengal, Orissa, Nepal, and Tibet, possibly even impacting Central Asia, Burma, and Indonesia.
• Historical Significance of the Manuscript:
  • Tomar Dynasty: The colophon mentions Maharaj Doongarsingh of the Tomar dynasty of Gwalior, bestowing upon him the title "Kalikal Chakravarti". This is a new historical fact not found in other historical accounts of the Tomars. It also clarifies the lineage of the Tomar kings, correcting the misunderstanding that Doongarsingh succeeded Vikram directly, when in fact his father Ganapatidev ruled briefly before him.
  • Sultan Firoz Shah: The scribe's praises mention Sultan Firoz (Firoz Shah). Raidhu's other works also refer to Firoz Shah Tughlaq and his founding of Hisar. This indicates Firoz Shah's respect for Jain society and religion, possibly including Jain ministers in his court. Hisar was a major center for Jains and Jain literature during Raidhu's time.
  • Patronage: The manuscript was commissioned by Holivammun (or Holivarma), the fourth son of Raidhu's patron Khemsahu. Holivammun was also a virtuous individual and the author of "Dashalakshana Dharma Jayamala," which illuminated his life spiritually through his patronage of the poet. This further confirms the manuscript's authenticity.

The article concludes by stating that the author has only focused on the artistic and historical aspects of this specific illustrated manuscript and its concluding inscriptions, not on the poet himself or his broader work, which have been discussed in other research papers. The author emphasizes the need for further scholarly research into this pictorial style, which represents a later phase of sequential art and has connections to both ancient and modern Indian painting traditions. It is considered a crucial link in understanding the evolution of Jain painting.