Porbandarni Vasupjyani Vaghela Kalin Pratima Ane Teno Abhilekh

Here's a comprehensive summary of the provided Jain text, "Porbandarni Vasupjyani Vaghela Kalin Pratima ane teno Abhilekh" by M.A. Dhaky, in English:

Title: The Vaghela Period Image of Vasupujya Jin at Porbandar and Its Inscription

Author: M.A. Dhaky

Summary:

This article by M.A. Dhaky focuses on a specific Jain image of Lord Vasupujya Swamy located in Porbandar and the inscription found on its pedestal. The author begins by briefly mentioning the antiquity of Porbandar, noting that detailed research on the early settlement of Jains and the construction of Jain temples there is lacking.

The author cites a published note that suggests the existence of a temple of Lord Parshvanath in Porbandar during the 15th century. This information is further supported by an excerpt from "Chaityaparipati Stavan" composed by Shri Jintilak Suri, a disciple of Hemchandrasuri of the Ratnakar Gachchha. This excerpt mentions temples of Parshvanath at Tejapur, Mangalpur (Mangrol), and Porbandar, as well as Rishabhdev at Miyani and a vihara at Ghumli built by Samprati. Jintilak Suri's time is placed in the latter part of the 15th century, implying that the Porbandar temple mentioned existed before this period.

The article then discusses another old temple in Porbandar dedicated to Shantinath, built in VS 1691 (AD 1635) during the time of Rana Khimaji, according to its inscription. However, the main subject is the Vasupujya image, which is considerably older. Although the current temple of Vasupujya is modern, the site itself is considered to be within the oldest part of Porbandar.

The author then delves into the description of the Vasupujya image itself. It is made of marble and depicts the Jin seated in the Padmasana posture under an Ashoka or Champak tree. At the base of the tree, a pair of deer is depicted. The tree is shown with leafy branches and flowers behind the Jin. Flanking the image are Yakshas as Pratirashikas holding "bijpur" (possibly a type of fruit or offering) and lotus stalks. Below these, in smaller niches, are figures of a female on the right and a male on the left, shown in worship of the Jin. These figures are identified as Rohini and Ashokchandra, who are associated with the narrative of Vasupujya and the tale of overcoming body odor.

The inscription, consisting of five lines, is located in the space between the figures of Rohini and Ashokchandra. It is significantly worn due to washing of puja items, making it difficult to read. The author provides a transcription and interpretation of the inscription:

Inscription: (1) Samvat 1304, Phagun Vadi 11, Friday (2) (Rera?) yata ma. Vitavena tasya So(3)hini nama svapatni Shreya| Shri(4) Vislapurvacharyanam pratishthita| vam(5)tragachchhiya Shri Chandraprabhasurishishyena

Interpretation: In the year VS 1304 (AD 1248), on Phagun Vadi 11, Friday, Bhanushali Valā, son of (Dedha?), had a beautiful image of Jin Vasupujya installed for the merit of his wife, Sohini. The installation was performed by a disciple of Shri Chandraprabha Suri of the Chandragachchha.

The author notes that the language of the inscription is somewhat corrupted (e.g., "Phagun" instead of "Phalgun," and spelling errors like "Sohini" instead of "Sohini"). The inscription also lacks certain details, such as the specific village or temple where the installation took place, making it impossible to determine if the image was originally from Porbandar or brought there from elsewhere later. Given its relatively small size, the possibility of it originally having its own independent temple is considered unlikely.

The author then draws a connection to a palm-leaf manuscript from VS 1387 (AD 1251), which mentions disciples of Chandraprabha Suri of Chandragachchha and the reign of Visaldev Vaghela. This manuscript is close in date to the Porbandar inscription.

The article also references the "Vasupujya Charitra" composed by Vardhamanasuri of the Nagendragachchha in VS 1299 (AD 1243) after the restoration of the Vasupujya temple at Pattana. This work includes the narrative of image worship with figures of Rohini and Ashokchandra. The author suggests that the Porbandar image might have been created after the circulation of this narrative, as the installation occurred only five years after the text's composition.

The author then discusses other marble Jin images from the 13th century that feature trees with foliage on their reverse side, citing examples published by Umakant Shah and others. These trees might represent the specific Chaitya trees of the Jins or be linked to particular narratives. Further research is deemed necessary to clarify their significance.

An example of a dramatic and artistic image found in Gujarat is also presented, featuring a seated Jin under a tree, with a lotus umbrella. This image, while not identified as Vasupujya, has elephant figures at its base, and the author speculates on the potential narrative behind this symbolism.

In conclusion, the author states that the Vasupujya Jin image at Porbandar is a rare example of Jain iconography. The inscription on the pedestal authenticates the deity's name, giving the image significant value for the study of Jain iconometry. The article also includes several footnotes that provide references to other scholarly works and historical details related to the discussion.