Prachin Lekhankala Ane Tena Sadhano

Here's a comprehensive summary of the Jain text "Prachin Lekhankala ane tena Sadhano" (Ancient Calligraphy and its Tools) by Muni Shri Punyavijayji, based on the provided pages:

Overall Theme:

The book is a valuable treatise on the art of ancient Indian calligraphy and the tools used for it, with a particular focus on Jain traditions. It laments the decline of this art form in the modern era due to the advent of printing technology and emphasizes the need to preserve and understand this disappearing heritage. The author, Muni Shri Punyavijayji, a renowned scholar and preserver of Jain manuscripts, draws upon his extensive experience and research.

Key Sections and Content:

The book systematically explores the subject by dividing the tools and techniques into three main categories, followed by discussions on manuscript types, scribal customs, and other relevant aspects.

1. Writing Surfaces (Materials):

• Palm Leaves (Talpatra):
  • The author distinguishes between two types of palm trees: Khartal (found in Gujarat) and Shritāl (found in Madras, Burma, etc.).
  • Khartal leaves are brittle and not suitable for writing.
  • Shritāl leaves are smooth, long, wide, and pliable, making them ideal for manuscripts. These were widely used in India until the 12th century Vikram era.
  • A challenge with palm leaves is their natural sheen which can prevent ink from adhering. The method to remove this for better ink retention is discussed as a lost art.
• Paper (Kagaz):
  • The text notes the historical production of various types of paper in different regions of India, such as "Bhungaliya" and "Sahebkhani."
  • Currently, in Gujarat, "Amdavadi" and "Kashmiri" papers are primarily used. Kashmiri paper is highly durable, being made of silk, but much of it is reserved by the state for official use.
  • A crucial point is raised about the preparation of paper for writing. Papers that have been treated with chemicals might lose their essence and not be long-lasting. Papers, even good ones, can lose their coating ("ghanto") due to exposure to cold air, causing ink to spread or not adhere. To rectify this, papers are treated with alum water and then burnished with agate or similar stones.
  • Western papers treated with acid or spirit are generally considered unsustainable for long-term preservation as their inherent quality is diminished.
• Cloth (Kapda):
  • Cloth treated with a paste made from wheat flour can be used for writing after burnishing.
  • An example of a cloth manuscript from 1353 Vikram era is mentioned.
  • Cloth was more commonly used for drawing or writing magical spells and diagrams rather than full texts. Its modern equivalent is tracing cloth.
• Bhujpatra (Birch Bark):
  • Primarily used for writing mantras and spells, and its use continues. Mentions a book written on Bhujpatra documented in "Bharatiya Pravina Lipimala."
• Overall Usage: The author concludes that palm leaves and paper were the most extensively used materials for writing manuscripts, with palm leaves dominating until the 12th century.

2. Pens and Other Tools (Kalam Adi):

• Pens (Kalam):
  • Various types of reeds (buru) were used, including Tijiyan buru (hollow like a reed), Kalan buru, and bamboo buru.
  • Tijiyan buru is noted for its durability, its tip not becoming blunt easily, although it is inherently brittle.
  • The text provides a couplet on the quality of pens, suggesting pens with knots at the wrong places can cause issues.
• Brushes (Pinchhi):
  • Used for correcting manuscripts, such as erasing or replacing letters and lines. This is done using materials like Haritala or Safeda.
  • A particularly effective brush for manuscript correction is made by inserting squirrel tail hairs into the tip of a pigeon's feather. These hairs are naturally arranged and durable.
• Stylus (Jabal):
  • Used for drawing lines, especially when the pen's tip became blunt. Still in use in some parts of Marwar. It is made of iron and has a pincer-like shape at the tip.
• Needle (Soya):
  • In regions like Burma and Madras where palm leaves are incised, an iron needle is used instead of a pen.

3. Inks (Shahi Adi):

The book details several recipes for inks, categorized by their intended use:

• Black Ink for Palm Leaves (Talpatra ni Kali Shahi):
  • Several ancient verses (Aryas) are quoted, describing the ingredients and processes.
  • First Type: Mentions ingredients like "sav-bhurta," "triphala," iron powder, and tree sap. The process involves boiling and grinding.
  • Second Type: Involves kajal (lampblack), ground gems, ground herbs, and mercury. The process includes grinding with hot water, forming into pellets, drying, and then re-grinding.
  • Third Type: Uses neem sap/gum, kajal, lac resin, and Bhringraj juice. Specific instructions for mixing in copper vessels with heat are given.
  • A critical note is made that if lac resin is used, cow's urine should not be added as it can react and spoil the ink.
  • For incised palm leaves, a mixture of burnt coconut shell or almond peel ash with oil is used, rubbed onto the incisions to darken them.
• Ink for Paper (Kagaz par Likhvani Shahi):
  • Six Types: The text lists six recipes.
    • The first type (Kajal, Bol, Gond, Bhangra juice) is considered the best for longevity and preserving the manuscript.
    • Types 2-4 are considered medium quality, though the ink is fast, the paper itself might degrade over time.
    • Types 5-6 are deemed inferior and to be avoided for important manuscripts, as they quickly damage the paper. However, they are simple and cheap for temporary writing.
  • Notes on Ink Ingredients:
    • Gum of Acacia (Kher) is preferred. Gum of Babool or Neem should be used in slightly lesser quantities due to higher stickiness.
    • Inks containing lac, catechu, or alum are to be avoided for long-term manuscript writing.
    • A Marathi ingredient called 'Dairli' (fruit juice of the Ringni tree) is mentioned for adding luster and preventing insect infestation.
• Annotation Ink (Tippani ni Shahi): A specific recipe for a durable ink is provided.
• Golden and Silver Ink (Soneri-Ruperi Shahi):
  • The process involves preparing a gum solution, applying it to gold or silver leaf, grinding it into a fine powder, and then mixing it with sugar water to remove stickiness while retaining luster.
• Cinnabar Ink (Hingalok):
  • Describes the process of purifying raw cinnabar by repeatedly washing it with sugar water to remove impurities, resulting in a pure red pigment. This is then mixed with sugar water and gum to form a red ink.
• Yellow Orpiment Ink (Haritala):
  • Specifically, the 'Vargi' variety of Haritala, which has golden-colored streaks, is used. It's ground finely, sieved, and mixed with gum water.
• White Lead Ink (Safeda):
  • White lead powder mixed with gum water is used for coloring.
• Ashtagandha (Eight-Scented Ink):
  • Used for writing mantras. It's a mixture of eight ingredients: Agar, Tagar, Gorochana, Kasturi, Rakta Chandan, Chandan, Sindoor, and Kesari.
• Yakshakardama:
  • Also used for writing mantras, comprising eleven ingredients including sandalwood, saffron, agar, camphor, musk, and gold leaf.
• Ink Preparation Method: Inks made from cinnabar, orpiment, white lead, etc., are often formed into pellets and dried. They can be reactivated by adding water.
• Using Golden/Silver Ink: The text suggests writing with golden or silver ink over colored backgrounds (black, blue, red, etc.). The colored letters are then filled with gold/silver ink. After drying, burnishing with agate enhances the metallic sheen.

4. Manuscript Types (Pustak ke Prakar):

• Five Types of Manuscripts (as per Haribhadra Suri):
  • Gandi: Long and uniform in width and thickness.
  • Kachchhapi: Narrow at the ends and broad in the middle (like a tortoise shell).
  • Mushti: Small and round, or square, about four fingers in length.
  • Samputaphalaka: Having two covers or panels.
  • Chhipadi: Thin leaves and tall, or broad but thin.
• Tripat and Panchpat:
  • Tripat: Main text in the center in large letters, with commentary above and below.
  • Panchpat: Main text in the center, with commentary above, below, and in the margins on both sides.
• Soodh: Continuous writing without any divisions.
• Development of Commentarial Styles: The practice of writing Tripat and Panchpat styles likely began around the 15th century Vikram era, as older manuscripts were generally of the Soodh type.

5. Scribes' Preferences and Peculiarities (Lahiyaone Ketlak Aksharo Prati Anagmol):

• Aversion to Certain Letters: Scribes often avoided stopping their work on certain letters due to superstitious beliefs or practical reasons. Letters like 'Ka', 'Kha', 'Ga' were associated with negative meanings, while letters like 'Gha', 'Jha', 'Ta', 'Pa', 'Ba', 'La', 'Va', 'Sha' were considered auspicious for ending work.
• Marwari Scribes: Often preferred to end their writing sessions on the letter 'Va'.

6. Numerals on Palm Leaves (Talpatra na Anko):

• Positional Numerals: Unlike modern continuous numerals, palm leaf numerals were written vertically.
• Place Value: Numbers for units, tens, and hundreds were written separately, indicating their place value. Zero was represented by zero.
• Manuscript Length: Most palm-leaf manuscripts are within 600 pages. Longer manuscripts are rare and difficult to preserve. A note from 400 years ago mentions numerals up to 700 pages, suggesting such lengths might have existed.

7. Preservation of Manuscripts (Pustakaran):

• Protection from Moisture: Due to the gum in the ink, manuscripts are susceptible to sticking in the monsoon. They should be kept in dry, well-ventilated places, often in boxes made of paper, leather, or wood.
• Opening Libraries: Manuscript libraries were generally not opened during the monsoon, even if there was no rain, to prevent moisture damage.
• Handling Stuck Pages:
  • Paper Manuscripts: Gently blow air between the pages to separate them. If severely stuck, keep them in a drafty area for longer but avoid forcing them.
  • Palm Leaf Manuscripts: Wrap the book in a damp cloth. As the pages become air-dry, gently separate them. The ink on palm leaves is usually robust enough to withstand the damp cloth. Care must be taken to prevent the layers of the palm leaf from separating.
• Protection Slokas: Several verses are quoted at the end of manuscripts offering advice on protecting them from water, fire, mice, fools, etc.
• Author's Innocence Slokas: Some authors included verses to declare their own limitations or to request forgiveness for any errors in their copying.

8. Gyanpanchami Festival:

• Significance: Shvetambar Jains celebrate Kartik Shukla Panchami as Gyanpanchami.
• Purpose: Traditionally, this day was dedicated to the crucial task of drying and airing manuscripts after the monsoon to prevent damage from moisture, mold, and insects.
• Current Practice: The original purpose is largely forgotten. While some rituals persist, the actual preservation work is often neglected. The text contrasts this with practices in Mumbai, where some traditions are better maintained.
• Digambar Jain Gyanpanchami: Mention is made that Digambar Jains celebrate this festival on Jyeshtha Shukla Panchami, but Kartik Shukla Panchami is considered more appropriate for manuscript preservation due to the weather conditions.

Conclusion:

The author concludes by expressing a hope that institutions like Gujarat Vidyapith and Gujarat Puratatva Mandir will encourage individuals to study and preserve ancient writing traditions in this age of printing. He acknowledges the invaluable efforts of Jain acharyas in devising strategies for manuscript preservation.

Overall Significance:

"Prachin Lekhankala ane Tena Sadhano" is a significant work that meticulously details a rich aspect of Indian cultural heritage, particularly as it pertains to the Jain tradition. It serves as a vital resource for understanding the materials, techniques, and even the cultural context surrounding the creation and preservation of ancient manuscripts, urging readers to value and protect this disappearing art.