Nana Deshdeshi Bhashamay Vijaychintamani Parshwanath Jinstotra

Here's a comprehensive summary in English of the Jain text "Nana Deshdeshi Bhashamay Vijaychintamani Parshwanath Jinstotra" by Bhuvanchandravijay, based on the provided pages:

Title: Nana Deshdeshi Bhashamay Sri Vijaychintamani Parshwanath Jinstotra Author: Bhuvanchandravijay (Munishri Parmanand) Publisher: ZZ_Anusandhan Catalog Link: https://jainqq.org/explore/229558/1

Introduction and Historical Context:

This work is a significant poetic composition, notable for its rich poetic quality, linguistic value, historical insights, and particularly for its vivid depiction of Kachchh (Kutch) as it was over 400 years ago. It was composed in relation to a Jain temple in Bhuj, Kachchh.

The text is linked to the influential Tapa Gaccha lineage. A prominent Acharya, Sri Vijayhirsuri, had a disciple named Upadhyay Sri Vivekharsgani. Vivekharsgani traveled in Kachchh and greatly impressed the local rulers (Maharaos/Maharajas). Maharaja Sri Bharamall, inspired by Vivekharsgani, commissioned the construction of the "Rajvihar" temple in Bhuj. Bharamall's brother, Pachanje, the lord of the village Khakhar, was also influenced by Vivekharsgani. The Jains of Khakhar built a temple dedicated to Sri Adinath Prabhu, depicting his descent from Shatrunjay, and had it consecrated by Sri Vivekharsgani. These historical events are documented in extensive inscriptions found in the temples of Bhuj and Khakhar. This composition serves as a testament to these occurrences, connecting these two locations.

A point of curiosity arises regarding the inscription in the Bhuj temple of Adishwarji, which states the consecration year as V.S. 1628. This inscription mentions an Adinath temple. However, the present work explicitly states that Rao Bharamall built the temple of Vijaychintamani Parshvanath. Since it is known that Rao Bharamall did not build two temples, this creates a discrepancy.

Furthermore, while the Bhuj inscription mentions three idols, with one being of Chintamani Parshvanath, it does not mention a Chaukhmuh (four-faced) idol. The author of the study suggests that the mention of a Chaukhmuh in this stotra might be an error, or perhaps Chintamani Parshvanath was considered the primary deity.

Author and Composition Period:

The author of this work is Munishri Parmanand, a poet. This is his only recorded work in the Jain Granth Sangrah Kosh (Jain Bibliography). While only one manuscript was previously known, the study has discovered six manuscripts, indicating that the composition was widely circulated. The author's guru was Harshanand Pandit. Vivekharsgani, who is mentioned as being instrumental in the inspiration for this work, himself wrote the "Shri Heeravijaysurinirvanaras," published in "Jain Aitihasik Granth Sangrah" (edited by Jinavijay, 1926).

The exact composition date is not mentioned. One manuscript indicates the year V.S. 1698, placing the composition between 1628 and 1698. The Jain Granth Sangrah Kosh lists the work as "Nanadeshdeshi Bhashamay Stavan." Since Sri Vijayasen Suri passed away in 1671, it was thought to be composed before that. However, considering its connection with Vivekharsgani and the emphasis on Khakhar village, a more likely period for its composition is between 1659 and 1698.

Textual Variations and Content:

Among the six discovered manuscripts, two name the work "Vijaychintamani Parshvajinastotra." One calls it "Parshvachintamani Stavan," another "Nanadeshdeshi Bhashamay Sri Vijaychintamani Parshvajinastotra," and one manuscript is titled "Nanadeshdhiya Bhashastavan." One manuscript is incomplete.

There's inconsistency in the number of verses: two manuscripts have 78 verses, two have 56, one has 62, and one is incomplete. The verses have been renumbered for this study. Seven verses (five from verses 29-33 and two from verses 44-45) are present in only one manuscript (Lad. Sam.). The rest of the text is largely consistent, though numbering may vary. The study acknowledges the work of the late expert Sri Lakshmanbhai Bhojak in identifying and numbering the verses.

Controversial Verses and Social Commentary:

The study highlights that five verses (and potentially others) contain derogatory descriptions of women from Kachchh, spoken by women from Gujarat. It is suggested that copyists may have later omitted these verses. Two verses containing sharp responses from Kachchhi women are also noted as potentially having been excluded. However, the author of the study has retained these seven verses due to their documentary value for Kachchhi language and culture.

The study asserts that the depictions in these verses are not entirely untrue regarding the societal practices of the time in Kachchh. Certain practices, like marriage alliances between cousins and exchanging daughters for daughters, were prevalent not only in Kachchh but also among Jains in Gujarat until about a hundred years prior. The practice of infanticide (referring to a daughter not surviving) is stated to apply to the Kshatriya class, not necessarily to Jains. The poet, through these dialogues, highlights how Gujarati women unknowingly make such accusations against Kachchhi Jains. This dialogue provides rich details about Kachchh's geography, food habits, customs, and language, offering an eyewitness account.

Narrative and Linguistic Significance:

The story begins with various pilgrimage groups (sanghs) arriving in Bhuj for a visit to the Rajvihar temple, including a group from Khakhar. A commotion ensues in the narrow streets of Bhuj, and a Gujarati woman is jostled by Kachchhi women. This triggers a critical commentary on Kachchh and its women by the Gujarati woman. Other women from places like Khambhat, Ahmedabad, Maharashtra, and Marwar join in the criticism.

A spirited response comes from a woman from Khakhar, stating that they too have been enlightened by Vivekharsgani, follow Jain practices, and that Kachchh has great pilgrimage sites like Bhadeshwar. The recognition of Kachchhis as fellow practitioners of Dharma leads the Gujarati women to embrace the Kachchhi woman with affection. When the Kachchhi woman suggests the guests should go first, they insist she go ahead. The pilgrimage concludes in an atmosphere of joy and celebration. The dialogues between the women involve them speaking in their respective languages, criticizing Kachchh or praising the pilgrimage sites of their own regions.

The poet, Parmanand, being a mendicant, traveled extensively and possessed intimate knowledge of various languages, allowing him to use them authoritatively. His skillful and proficient use of the Kachchhi language suggests he must have traveled extensively and lived in Kachchh. This work is considered perhaps the sole written record that vividly describes Kachchh from four hundred years ago.

Manuscripts and Editorial Notes:

The six discovered manuscripts are believed to belong to more than one family. The present text is prepared based on the "Lad. Sam." manuscript, with significant textual variations from other manuscripts noted. Variations due to pronunciation differences in later manuscripts (e.g., yugati becoming jugati) have not been recorded. Passages in Kachchhi language from later manuscripts containing errors have not been included as variants. Marathi sections have been edited to the best of the editor's ability, suggesting that a Marathi scholar might provide further verification. A noted word 'nakhavata' in verse 6, potentially meaning 'nachavata' (to dance), has been retained as it appears in all manuscripts, pending further examination.

Linguistic Peculiarities:

A unique feature is noted in the Marwadi woman's speech, where the letter 'r' is consistently replaced by 'g' (e.g., Ranpur becomes Ganpur, Raliamanu becomes Galiamanu). This suggests such an pronunciation was prevalent in the region at that time.

In verse 56, the word 'Abugoda' appears, while two manuscripts have 'Abu Gadgi (-gadari)'. The meaning of 'Abugoda' requires investigation.

The names of the regional folk melodies (dhalos) are only found in one incomplete manuscript.

A Note of Gratitude:

The study expresses gratitude to Sri Lakshmanbhai Bhojak, an internationally renowned script expert, who embarked on research for this same work. Upon learning of the study's intention to work on it, he generously shared his collected manuscripts and entrusted the completion of the task. The author acknowledges this scholar's generosity and research integrity, dedicating this article to his memory.

The manuscript sources are listed:

1. Lad. (Lalbhai Dalpatbhai Bharatiya Vidya Bhavan, Ahmedabad)
2. Makh. (Mandavi Kharatargacch Jain Sangh Bhandar)
3. Shu. (Shubvir Jain Gyan Bhandar, Ahmedabad)
4. Ko. (Shri Kailas Sagar Suri Gyan Mandir, Koba)
5. A. (Incomplete)
6. Mampa. (Mandal Parshvachandr Gacch Jain Sangh Bhandar) - This manuscript contains the colophon with the date V.S. 1698.

The text then proceeds to provide the verses of the stotra in Gujarati, divided into several dhalos (melodies). These verses detail the pilgrimage, the dialogue between women from different regions, and the descriptions of Kachchh. The later pages include a "Shabd Nondh" (Word Notes) section, which defines the meaning of various Gujarati and Kachchhi words used in the stotra, along with their likely present-day pronunciation. It also notes variations found in different manuscripts.

Overall Significance:

The "Nana Deshdeshi Bhashamay Vijaychintamani Parshwanath Jinstotra" is a historically and linguistically valuable document. It offers a unique glimpse into the social customs, linguistic landscape, and religious activities of Kachchh and its surrounding regions from the 17th century. Its narrative style, incorporating diverse languages and regional dialects, makes it a rich source for researchers and anyone interested in the cultural heritage of Jainism in India.