Mahopadhyaya Kshamakalyan Gani Ki Sanskrut Sahitya Sadhna - Book Summary

Here's a comprehensive summary of the provided Jain text about Mahopadhyaya Kshamakalyan Gani's Sanskrit literary contributions:

This document, titled "Mahopadhyaya Kshamakalyan Gani ki Sanskrit Sahitya Sadhna" (The Sanskrit Literary Endeavor of Mahopadhyaya Kshamakalyan Gani) by Dr. Diwakar Sharma, highlights the significant contributions of Mahopadhyaya Kshamakalyan Gani to Sanskrit literature within the Jain tradition.

Introduction and Scholarly Prowess: Mahopadhyaya Kshamakalyan Gani was renowned throughout India for his scholarship, recognized by both Jain and non-Jain intellectuals as a leading literary figure. He was not only a prolific writer but also a formidable debater. The text quotes his biographer, comparing his Sanskrit pronouncements to a roaring lion that swiftly overpowers opponents, much like a lion subdues a wild elephant.

Biography and Lineage: Born in 1490 CE (Vikram Samvat 1801) in Kesaradesar, Bikaner, he belonged to the Mal Goth of the Osha clan. Displaying an early inclination towards renunciation, he took monastic vows at the age of 11 in 1502 CE (Vikram Samvat 1812) from Pujyashri Amritdhamsuri. His gurus were M.M. Shri Ratnasomji and Upadhyay 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 (the goddess of learning), resulting in hundreds of literary works in Rajasthani, Prakrit, and Sanskrit, ranging from short to extensive compositions. Beyond literary creation, he also actively engaged in religious activities like temple consecrations and "Udyapana" (religious ceremonies). Historical accounts indicate he received patronage from the kings of Bikaner, Jaisalmer, and Jodhpur.

Guru Parampara (Spiritual Lineage): His gurus were also renowned exponents of religious principles. Kshamakalyan Gani documented his guru lineage in the colophons of his works and the preface of his historically significant Khartargachch Padavali. The lineage is traced as follows:

Shri Jinbhaktisuri
Jinlabhasuri
Pritisagar
Amritdham (his direct guru)

Demise: Mahopadhyaya Kshamakalyan Gani passed away in Bikaner in 1513 CE (Vikram Samvat 1873). A poignant Sanskrit elegy, composed in the style of an Urdu marsiya, was written by one of his disciples to mourn his demise. This elegy is described as deeply touching and full of praise for his virtues.

Literary Achievements (Sahitya Sadhna): Kshamakalyan Gani possessed remarkable command over Sanskrit, Prakrit, and Rajasthani. He authored approximately 150 works, including 29 purely in Sanskrit. Many of his handwritten manuscripts are preserved in the Abhay Jain Granthalaya in Bikaner. His most numerous works are commentaries (Tikas), including various forms like Vriti, Churni, and Phakkika.

Notable Sanskrit Works:

Shripalcharitra Tika: This is a commentary in the Avachurni style on the Shripalcharitra (originally in Prakrit) by Shri Ratnashekhar Suri. Although a printed version exists, it omits the colophon. A complete copy, handwritten by Kshamakalyan Gani himself, is preserved in Bikaner. This commentary was written at the request of his disciple Gyanachand Muni and employs the Khandanvay method. It is known for its detailed and comprehensive explanation of each word, elaborating on philosophical points and philosophical contexts. It also incorporates beautiful sayings and analogies.
Jeevavichar Vriti: This commentary is on the Jeevavichar, a key part of the Dravyavichara (a section of Jain Agamas). While many scholars have written commentaries on this topic, Kshamakalyan Gani's Vriti is considered superior. Written in 1500 CE (Vikram Samvat 1850), it honors his gurus, with a verse that is a slight variation of a verse from the Shripalcharitra Tika. The commentary lucidly explains the Prakrit sutras in Sanskrit, making their essence accessible.
Tarkasangraha Phakkika: Composed in 1708 CE (Vikram Samvat 1828), this is a simplified commentary on the Dipika commentary of Annambhatta's Tarkasangraha. Kshamakalyan Gani's Phakkika clarifies the meaning of the Dipika without offering independent critique. He follows the Khandanvay method in explaining the subject matter and elaborates on complex concepts like Upaadhi (adjunct/condition), providing detailed explanations that are particularly helpful for understanding the text.
Gautamiya Kavyam Tika (Gautamiyaprakasha): This extensive commentary was written in 1512 CE (Vikram Samvat 1852) on the Gautamiya Kavyam, a Mahakavya by his guru, Pathak Shri Kupachandra Gani. This is considered his finest commentary, offering a simple and elegant explanation of the original author's profound ideas. It also includes a thorough refutation of Buddhist, Vedanta, and Nyaya philosophies, showcasing the commentator's profound scholarship and analytical skills.
Yashodharacharitram: Composed in 1499 CE (Vikram Samvat 1839), this narrative details the transmigration of a soul through ten different births as penance for a single sin (being forced by his mother to eat a chicken's flesh). The story follows the characters through various animal and human lives, experiencing the consequences of their past actions. The narrative style and language are influenced by Bana and Dandi, with the didactic passages echoing Bana's Shuknashopadesha and other prose sections mirroring the style of the Dashakumara Charita.
Holika Vyakhyaanam: This is his earliest exposition, written in 1495 CE (Vikram Samvat 1835). It explains the importance of fasting and other religious observances during the Holi festival. It provides guidelines for specific actions during the festival, linking them to penances like fasting.
Meru Trayodashi Vyakhyaanam: Composed in 1520 CE (Vikram Samvat 1860) during his stay in Bikaner, this commentary narrates the story of a prince regaining his ability to walk through the observance of the Meru Trayodashi fast. The story is explained in simple language, with short, engaging sentences that are easily understood by lay Jains. It emphasizes the interconnectedness of actions, compassion, and consequences.
Chaityavandana-Chaturvinshtika: In this work, Mahopadhyaya Kshamakalyan Gani praises the 24 Tirthankaras in various meters. Each Tirthankara is praised with three verses, with an exception for Mallijin, who has five verses, totaling 74 verses. The poetic beauty and devotional sentiment place this work alongside revered stotras like Siddhasena Divakara's Kalyan Mandir and Merutunga's Bhaktamar. The verses exhibit varied metrical structures, some of which are unique and showcase his mastery of poetic forms. The adjectives used are not merely descriptive of physical form but reflect the virtues and characteristics of the deities. The commentary notes that the varied style suggests the work might have been composed over different periods. The text highlights the rich vocabulary and devotional depth of his stotras.

Conclusion: The analysis of these works demonstrates Mahopadhyaya Kshamakalyan Gani's complete command over the Sanskrit language, which flowed seamlessly in his exposition of diverse subjects. His language is described as fluent in some works and highly expressive in others. His commentaries on Jain narratives, epics, and philosophical texts are executed with excellent Tika and Vriti styles. His commentary on Gautamiya Kavyam is considered the best from a scholarly perspective, offering a critical analysis of various philosophical schools. Overall, his literary output reflects a deep understanding of Jain philosophy, a refined aesthetic sense, and a dedication to preserving and disseminating spiritual knowledge.