Raidhu Sahitya Ki Prashastiyo Me Aetihasik Va Sanskruti Samagri

Here is a comprehensive summary in English of the provided Jain text, "Raidhu Sahitya ki Prashastiyo me Aetihasik va Sanskruti Samagri" by Rajaram Jain:

This article, "Historical and Cultural Material in the Praises of Raidhu Literature" by Rajaram Jain, highlights the significant contributions of Mahakavi Raidhu to Indian literature and culture. Raidhu, a prolific poet, composed over 23 extensive works in Apabhramsa within his lifetime, demonstrating remarkable erudition across Sanskrit, Prakrit, Apabhramsa, and Hindi. His writings are characterized by their thematic diversity, profound knowledge of history and culture, and his ability to inspire an appreciation for literature, music, and art among the public and royalty.

A key aspect discussed is Raidhu's ability to bridge the perceived gap between 'Lakshmi' (wealth) and 'Saraswati' (knowledge/arts). The text presents an illustrative anecdote involving Raidhu and a wealthy merchant named Kamal Singh. Kamal Singh, despite possessing immense material wealth, expressed a deep longing for a poetic creation, feeling his riches were incomplete without it. He humbly requested Raidhu to compose a work for him. Raidhu, recognizing Kamal Singh's sincere desire, agreed, assuring him that he would continue to be blessed with material prosperity and would always engage in beneficial deeds.

This interaction then led Kamal Singh to approach King Dungarsingh to support his charitable endeavors. The King, moved by Kamal Singh's devotion and the poet's assurance, readily pledged his support. King Dungarsingh, inspired by historical examples of religious patronage, encouraged Kamal Singh to proceed with his virtuous acts and promised ample financial assistance, stating that any shortfall would be met by him. This exchange underscores Raidhu's influence in mobilizing societal and royal support for religious and cultural initiatives.

The article also delves into Raidhu's interactions with other patrons. Harisingh Sahu, another devotee, expressed a desire for his name to be inscribed in the "celestial chariot" (Chandra Vimana) through the composition of the Balabhadra Purana. Raidhu, acknowledging the immense effort required for such a monumental task, initially expressed his limitations. However, upon Harisingh's eloquent reminder of Raidhu's poetic prowess and their past interactions, Raidhu agreed to undertake the composition of the Ramacharita (also known as Balabhadra-charita).

Raidhu's respected position in society is further evident in how his requests were treated as honors. When he wished to compose the 'Pashanaha Charitra' and needed financial support, he commanded Sahuchudamani Khem Singh to undertake the responsibility. Khem Singh, deeply honored by the poet's command, expressed immense gratitude and considered his life fulfilled by this opportunity. Upon the completion of the work, Khem Singh not only received it with great reverence but also generously gifted Raidhu with valuable items from distant lands, indicating extensive overseas trade by patrons.

The influence of Raidhu extended to the rulers of Gwalior, King Dungarsingh and his son Kirtisingh. Dungarsingh even invited Raidhu to pursue his literary endeavors within the royal palace. Raidhu's devotion to Adinath Bhagwan led him to conceive of a grand statue. This idea resonated with King Dungarsingh and others, leading to the creation of a magnificent 57-foot tall statue of Adinath, reminiscent of Gommateshwara in South India. This project initiated a prolonged period of sculptural development, spanning 33 years under Dungarsingh and his successor Kirtisingh, resulting in the creation of numerous Jain statues.

The article highlights that the installation of the Adinath statue was performed by Raidhu himself, indicating his role as a 'pratishthacharya' (installation priest). The inscription on the statue provides crucial historical details, including the date (Samvat 1467), the ruling king (Dungarsingh), and the lineage of spiritual teachers. These statues, dating from the 14th-15th centuries, are described as vibrant historical records, reflecting the political, economic, religious, social, and cultural life of the Malwa region. Their artistic merit has attracted scholars and artists, both domestic and international, including figures like Babar, Cunningham, and Fergusson. Dr. Roy Chowdhury's observation that Emperor Babar ordered the destruction of these "Rock-sculptures" is also cited.

The author emphasizes that it was through Raidhu's inspiration that the Jain faith, culture, and art flourished under the Tomar rulers of Gwalior, leading to remarkable developments in sculpture. The article concludes that Mahakavi Raidhu truly awakened a new cultural consciousness in the Malwa region through his personality and works, successfully harmonizing wealth and knowledge. His role as a syncretic poet ensures his lasting remembrance in Indian literature.

Furthermore, the text points out the value of other information found in Raidhu's writings, such as descriptions of social and economic conditions, contemporary rulers, and city life, all of which hold significant historical importance. Socially, Raidhu depicted individuals as industrious, religious, charitable, compassionate, inquisitive, lovers of literature, respectful of the learned, and long-lived. The article notes the societal belief in achieving a lifespan of a hundred years, and the connection between a vegetarian diet and longevity.

The pervasive devotion to Jain scriptures and a love for literature among the populace at that time enabled the creation of Raidhu's invaluable body of work. In return for the patronage of their devotees, the poets documented their patrons, often detailing their family histories for six or seven generations, thereby creating a valuable social and cultural historical record for posterity. The literature also contains details related to various castes like Agrawal, Jaiswal, Khandelwal, and Padmavati-Purwal.

Raidhu was particularly impressed by the women of the Malwa region, describing them as virtuous, generous, compassionate, charitable, family-oriented, and diligent. He portrayed them as devoted mothers, instilling good values in their children and guiding them away from vices. Unlike poets who focused on erotic descriptions, Raidhu's descriptions of female beauty were limited to graceful movement and pleasant speech, focusing on their moral qualities.

The importance of progeny for the continuity of family traditions and the welfare of dependents is also highlighted. Economically, the Malwa region during Raidhu's time is depicted as prosperous, with a peaceful and stable political and economic environment contributing to the flourishing of society, culture, and literature. The merchant class earned wealth justly and used it not for ostentatious display but for fulfilling the needs of the less fortunate. The trade connections extended internationally, as evidenced by the gifts received by Raidhu from Khem Singh.

The city of Gwalior during Raidhu's era is described as a thriving center of art and commerce, with beautiful buildings, Jain temples, bustling streets, markets filled with precious goods, and charitable institutions. Scholars and poets were highly respected. The city's natural beauty, including rivers, forests, gardens, and lakes, also added to its charm. Raidhu even metaphorically described the buildings as the lineage of King Dungarsingh, praising both their artistic grandeur and the king's legacy.

The article details the significant contributions of Tomar rulers Dungarsingh and Kirtisingh to Gwalior. Dungarsingh is portrayed as a valiant, patient, benevolent, just, progressive, and art-loving king, responsible for the prosperity and flourishing of Jain literature and art. His reign is called a "golden age," achieved despite facing political instability and previous invasions. He is depicted as a warrior who protected his subjects and a patron of learning and the arts. His court was open to all, regardless of social standing.

Raidhu also mentions the succession of Bhattarakas (Jain monastic leaders), including Vijayasen Gunakirti, Yashahkirti, Kshemkirti, Hemkirti, Kumarsen, Kamalkirti, and his disciple Shubha-chandra. He considered Bhattarak Yashahkirti and Bhattarak Shubha-chandra as his gurus. The establishment of a Bhattarak seat at Kanakadri (Sonagir) by Bhattarak Kamalkirti, with Shubha-chandra as his successor, indicates Sonagir's importance as a center of learning.

The article notes Raidhu's reverence for earlier literary figures and texts, including Devnandi's Jainendra Vyakarana, Jinasena's Mahapurana, Ravisen's Ramayana, and the works of Swayambhu, Chaturmukh, and Pushpadanta. These references suggest that Raidhu viewed them as ideals and ensured his own writings adhered to tradition and scriptures.

In conclusion, the author asserts that Mahakavi Raidhu's work in the 14th-15th centuries, by integrating history with literature, provided invaluable service to literature, society, and the nation. His information on central India is novel and authentic, forming the basis for a comprehensive history of the region's political, cultural, religious, sculptural, and architectural art. The article acknowledges the constraints of space, mentioning that not all available materials could be included, and that many of Raidhu's manuscripts remain unpublished and scattered, making further research challenging but vital for recognizing this significant but largely undiscovered poet.