Shraman Bhagavan Mahavir Ni Chitrakatha

This is a comprehensive summary of the provided Gujarati text, which appears to be the introduction to a book or collection of artwork titled "Shraman Bhagavan Mahavir ni Chitrakatha" (The Pictorial Story of Shraman Bhagavan Mahavir).

The text emphasizes the significance of India as the birthplace of divine and great souls who have guided humanity in both practical and spiritual life. It highlights figures like Lord Rama, Lord Krishna, Lord Buddha, and Lord Mahavir. The author asserts that while written narratives (akshar-kathas) and artistic representations (shilpakala and chitrakala – sculpture and painting) both serve to convey the lives and teachings of these great figures, artistic depictions offer a unique, non-verbal way to present their inner and outer journeys.

The text then points out a perceived deficiency in the availability of contemporary and fitting pictorial narratives for Shraman Bhagavan Mahavir, unlike the ample written and artistic accounts available for figures like Lord Rama, Krishna, and Buddha. This gap was a significant lapse for the Arya Indian people who revere these divine personalities.

The author reveals that a skilled artist, Gokuldas Kapadia, working in seclusion for years, had been meticulously crafting a pictorial narrative of Lord Mahavir's life, aiming to bridge this gap. This endeavor is described as a significant undertaking, the first of its kind in a style suitable for the current era. The presented work is the "first half" (purvardh) of this grand pictorial narrative, with the second half (uttardh) still awaiting completion by the artist.

The text highly praises Gokuldas Kapadia's dedication and inner motivation, comparing his commitment to creating this unique artwork to something far more valuable than material wealth. It stresses that true philosophical, literary, and artistic achievements stem from intrinsic inspiration, not solely from worldly possessions.

The author details the immense effort and deep contemplation Kapadia invested in his work. He undertook extensive study of Lord Mahavir's biographies, engaged in profound meditation, and observed ancient artistic traditions. Kapadia meticulously studied various ancient Jain manuscripts from the 13th to 17th centuries, including palm-leaf and paper manuscripts of the Kalpasutra adorned with illustrations, as well as ancient sculptures and illustrated scrolls. He analyzed the architectural styles, furnishings, clothing, adornments, and color schemes of those periods. Furthermore, he personally traveled to significant sites associated with Lord Mahavir's life, drawing inspiration from the very soil of those sacred lands. This holistic approach, the text asserts, demonstrates the profound penance and dedication Kapadia undertook over many years.

While acknowledging that pictorial representations of Lord Mahavir's life likely existed in ancient times, the text notes the scarcity and ambiguity of surviving evidence. However, it cites the discovery of sculptures depicting the "Garbhāpahāra" (conception) and "Daityadaman" (subduing demons) incidents from the Kankali Tila in Mathura as proof that such artworks must have been created, similar to Buddhist Jataka sculptures and depictions of Lord Krishna's life. The text also references a brief mention in a commentary on the Avashyakasutra by Acharya Haribhadrasuri, referring to a "samavasarana-patt" (a type of painted scroll) adorned with depictions of the twelve assemblies (devatas, humans, etc.), suggesting the existence of significant illustrated narratives in ancient times.

The author also mentions that ancient texts allude to paintings depicting the life events of Jain Tirthankaras, noting a specific reference to a painting in the palace of Lord Parshvanath, depicting Lord Neminath's renunciation. This further reinforces the idea that pictorial narratives of Tirthankaras' lives were indeed created in ancient India, likely as exemplary works of art.

The text concludes by commending Gokuldas Kapadia for his unique contribution in creating the first ideal pictorial narrative of Lord Mahavir suitable for the modern era. He is recognized for demonstrating the profound inner dedication and sacrifice required for true veneration of great personalities. The author expresses gratitude and admiration for Kapadia's achievement and hopes for the swift completion of the second half of this pictorial narrative, allowing everyone to share in the spiritual merit of this devotion. Kapadia is hailed as a memorable figure for this pioneering work.