Samudrabandh Chitra Kayva Ek Parichay

This document is a comprehensive introduction to the "Samudrabandh Chitra Kavya" composed by Kavi Deepvijayji, written by Vijayshilchandrasuri and published by ZZ_Anusandhan.

Key Points:

• Author: Kavi Deepvijayji, a renowned Jain monk-poet of the 19th century, hailing from Vadodara. He was honored with the titles "Kaviraj" by the Gaekwad kings of Vadodara and "Kabibahadur" by the Rana rulers of Udaipur.
• Subject of the Kavya: The "Samudrabandh Chitra Kavya" is a poetic work in the form of a praise and benediction ("Ashirvachan") dedicated to the Rathore king Man Singh of Jodhpur.
• Location of the Manuscript: A unique, illustrated manuscript of this work, handwritten by Kavi Deepvijayji himself on a cloth scroll ("Vastrapata" / "Oliyu"), is preserved in the Shri Atmaramji Jain Library in Vadodara.
• Title Variations: The manuscript itself is titled "Samudrabandh Ashirvachan." It is also referred to as "Samudrabandh Sachitra Ashirvad Kavya Prabandh" in the "Gujarati Sahitya Kosh - Madhyakal."
• Structure and Content: Although a continuous scroll, the work is divided into five sections for descriptive purposes:
  • Section 1: Begins with prose and verse, including an invocation and the intention to write the "Samudrabandh Ashirvachan" for King Man Singh. It describes the virtues and aims of the blessing, such as the acquisition of sons, kingdom, wealth, victory, and the vanquishing of enemies. It also elaborates on the "Samudrabandh," a complex form of poetry with 1651 letters, composed of 14 smaller "bandh" (structured poems) like Dhanushbandh, Chakibandh, etc. The text emphasizes that the "Samudrabandh" is a supreme blessing reserved for emperors or "Chhatrapati" kings, like Man Singh. It then presents eight "Kavittas" (poems) or "Ashirvachan Ashtak" offering blessings and descriptions of Man Singh's deities. These include blessings for Jalandharanath (Shiva), Shri Krishna, the Navagrahas (nine planets), and various other deities, as well as a blessing for the poet's own verses. The section concludes with a poem praising Man Singh's fame.
  • Section 2: Features three beautiful pictures in the Jodhpur style of three of the king's servants. Beneath these are a "Kavitt" describing Man Singh's sword and a small picture of a sheathed sword in a corner (from Section 5).
  • Section 3: Contains three separate pictures of the king's umbrella-bearers and other attendants. Below them is a "Kavitt" comparing the king to a cloud.
  • Section 4: Consists of 36 "Dohas" (couplets) arranged in 36 lines within large frames, read from left to right, forming a composition that praises the king's glory.
  • Section 5: The poet explains that, similar to Lord Krishna extracting 14 jewels from the ocean, he has extracted 14 smaller "bandh" poems from the "Samudrabandh Chitra Kavya." These 14 "jewels" are categorized as: 8 on politics/policy, 4 on blessings, 1 on titles/similes, and 1 on the poet's prayer. The text details each of these, including advice on trust in women, the importance of learning grammar, enjoying devotional music, appreciating riddles, listening to Vedic chants, keeping distance from traitors, punishing the wicked, protecting the virtuous, and the king's duty to worship.
• Concluding Sections: The work concludes with 7 "Gathas" (stanzas) in the "Motidām" meter describing the king, followed by a "Kavitt" also on the king's praise. Finally, in Sanskrit, a "Totak" meter poem offers blessings for the king's protection from various deities.
• Poet's Self-Introduction: The colophon at the end identifies Kavi Deepvijay as a disciple of Vijayanand Suri within the Tapagachchha tradition and as the holder of the "Kaviraj" title bestowed by the Gaekwad king. He states that he completed this "Samudrabandh Ashirvachan" on the occasion of Vijayadashami in the year 1777 (Samvat).
• Artistic and Literary Merit: The review highlights the poet's exceptional skill in poetry, his mastery of the challenging "Chitra Kavya" (picture poetry) form, his ability to incorporate multiple pictorial elements, and his command over Brajbhasha and various meters. It acknowledges the possibility that a skilled artist may have assisted, but also suggests the poet himself might have possessed artistic talent, referencing a colored illustration of "Vasundhara Devi" also by the poet.
• Poet's Reflection on Royal Praise: The article touches upon the ethical consideration of a Jain monk praising kings and their affairs. It cites a statement from the poet's own work, "Sohamkul Pattavali," where he acknowledges praising kings' armies and battles without realizing his own faults. Despite this, the author asserts that Kavi Deepvijayji deserves a prominent place among the great poets of the medieval period.
• Language and Further Research: The composition is in Brajbhasha, making it challenging to understand for those unfamiliar with it. The article notes potential errors in word division and grammar and invites corrections from knowledgeable readers for future publication.