Medta Se Vijay Jinendrasuri Ko Virampur Preshit Sachitra Vignapati Patra

Here's a comprehensive summary of the Jain text "Medta se Vijay Jinendrasuri ko Virampur Preshit Sachitra Vignapati Patra" by Bhanvarlal Nahta, based on the provided pages:

This scholarly article by Bhanvarlal Nahta discusses a significant and rare illustrated invitation letter (Vignapati Patra) sent from the Jain community of Merta to Acharya Vijayjinendrasuri of the Tapa Gacch sect, who was residing in Virampur. The letter, dating back to Samvat 1867 (155 years prior to the article's writing), is currently preserved in the Gujarati Tapa Gacch Sangha Library in Kolkata.

Significance of the Document:

• Importance of Acharyas: The article begins by highlighting the crucial role of Jain Acharyas after the Tirthankaras. They are responsible for the guidance and upkeep of the Jain faith, the Chaturvidh Sangha (fourfold community), and the overall administration of Jainism, much like kings in their kingdoms. Their presence inspires religious awakening, making communities eager to invite them for their Chaturmas (annual monsoon stay).
• Artistic and Literary Value: The invitation letters sent to these Acharyas were not mere administrative documents but often transformed into sophisticated literary and artistic creations, akin to short epics and picture galleries.
• Regional Importance: This specific letter is deemed particularly important for both Gujarat and Rajasthan, offering insights into the cultural and religious practices of both regions during that period.
• Linguistic and Historical Information: The document provides valuable information about the Marwari language of that era, as well as details about the prevailing socio-religious conditions.

Description of the Vignapati Patra:

• Dimensions and Content: The letter is an impressive 32 feet long. The first 17 feet are dedicated to illustrations, followed by 15 feet of text in Sanskrit and Marwari, comprising both prose and poetry.
• Illustrations: The illustrations begin with auspicious symbols like a Kalasha (pot) and depict various scenes:
  • Women dancing and playing musical instruments (dholak, veena).
  • The Ashtamangalika (eight auspicious symbols) and the 14 Mahaswapnas (great dreams) of a Tirthankara's mother.
  • A scene with Tishula Mata and Siddhartha, with a dream interpreter.
  • Depictions of the Jinendra temple, a market with shops, a Mahant (religious head), and a mosque.
  • More market scenes, including a horse rider, a water-carrier (panihaari), men, and two monks holding a 'tripani' (possibly a specific religious item).
  • A flag-bearer on an elephant.
  • Horsemen, musicians, a king with attendants, and various groups of men, women, and children.
  • Scenes within an Upashraya (monastery) showing the Acharya on a throne with disciples, establishment Acharyas, chavar-bearers (fans), monks, and nuns.
  • A depiction of a Parshvanath temple with its shikhar (spire), other Tirthankaras, and a dancer with musicians.
• Textual Content:
  • The text mentions important places and figures like Veerganv's Rao Fatehsingh, Toker Seth, four Jain temples, deities like Ishwar, Mata, Ganapati, Bhairav, the 64 Yoginis, 52 Viras, and the Sahasralinga lake.
  • It enumerates the 108 virtues of Acharya Vijayjinendra, describing 108 specific items and types.
  • It refers to Marudhar Desh (Rajasthan), King Mansingh, and Medinipur (Merta), listing 12 temples in Merta.
  • The text highlights the mention of Hakm Pancholi Gopal Das and credits the poet Gulalvijay's disciple, Deepvijay, for the composition.
  • It includes praise for the Acharya's qualities, lists his accompanying monks, and mentions the names of monks from Merta.
  • The Marwari prose section contains news and some gentle admonishments (upalambha) related to events like Paryushan.
  • The letter was written by Shivchandra on behalf of the Sangha on Margashirsha Shuddhi 5, Samvat 1867.

Key Figures and Places Mentioned:

• Acharya Vijayjinendrasuri: The recipient of the invitation.
• Merta: The sender of the invitation.
• Virampur (Viramgam): The residence of Acharya Vijayjinendrasuri.
• Rao Fatehsingh of Veerganv: A significant ruler mentioned in the text.
• Toker Seth: A prominent merchant.
• King Mansingh: Ruler of Marudhar Desh.
• Medinipur (Merta): The city of Merta.
• Pancholi Gopal Das: An official in Merta.
• Kavi Gulalvijay: The poet credited with some of the verses, and his disciple Deepvijay.

Literary Styles and Content:

The article presents verses in Sanskrit and Gujarati, including:

• Sanskrit Stotras (prayers): Invoking Nabhija Jin (Rishabhdev), Shantinath, Neminath, Parshvanath, and Vardhaman Mahavir.
• Gujarati Doha (couplets): Describing the land of Gujarat and the city of Virampur in vivid detail, emphasizing its beauty, prosperity, and the presence of temples and markets.
• Gujarati Chhappay (six-line stanzas) and Savaiya (metered verses): Further elaborating on Virampur, its inhabitants, economic activities, and religious sites, including various Jain temples and other deities.
• Marwari Doha and Chhappay: Describing Marudhar Desh, King Mansingh, and the city of Merta with its temples, officials, and diverse population.
• Praise for Acharya Vijayjinendra: Numerous verses highlight the Acharya's numerous virtues (108), his knowledge, character, and leadership qualities, comparing him to divine figures and sources of wisdom.
• Invitation and Appeal: The text conveys a strong and heartfelt invitation to the Acharya to visit Merta and perform the Chaturmas there, expressing the community's deep respect and eagerness for his presence.
• Praise for Poet Gulalvijay: The article notes the title "Kaviray" given to Gulalvijay, suggesting a need to search for his other works.

Conclusion:

The article emphasizes that this illustrated invitation letter is a rare and valuable historical document. It serves as a testament to the artistic and literary talent of the time, the deep respect shown to Jain Acharyas, and provides significant information about the cultural, linguistic, and religious landscape of Gujarat and Rajasthan in the early 19th century. The detailed descriptions of the illustrations and the varied poetic and prose styles underscore the elaborate nature of these religious communications.