Sinhavlokano

Here is a comprehensive summary in English of the provided Jain text, "Sinhavlokano" by M A Dhaky, based on the catalog link and the provided pages:

This document is a review and commentary titled "Sinhavlokano-1" by Madhusudan Dhaky, published by ZZ_Anusandhan. The author expresses his appreciation for the research journal "Anusandhan," particularly for its content that brings to light previously unknown or little-known ancient and medieval Jain literary works in Prakrit, Sanskrit, and other old languages. He notes the increasing quantity of discussions on specific vocabulary found in these texts as the journal progresses, indicating its growth into a recognized academic research periodical. Dhaky specifically acknowledges and thanks Acharya Vijayshilchandra Suri and Prof. Dr. Harivallabh Bhayani for their fruitful collaboration and significant contributions to the journal.

The author then proceeds to offer his observations and commentary on specific articles and topics published in "Anusandhan," focusing on his personal research interests.

Key Observations and Commentary by M.A. Dhaky:

• On Musicology and Raga Names (Anusandhan Issue 3):

  • Dhaky discusses Acharya Vijayshilchandra's article on "Simandhar Jinstavan" (composed by Sakalchandra, a disciple of Vijaydansuri, likely in the late 16th century CE). He highlights that the text specifies the ragas (melodic modes) to be sung for each stanza.
  • These ragas include "Gauddi" (related to medieval musicology and the Karnatak raga "Gauddi"), "Husenī Vairāḍī," "Mallar," "Mālavā Gauḍī" (related to the Karnatak raga "Māyā Mālavagauḍa"), "Dhoraṇī" (unknown), and "Dhanyāsī" (still known by the same name in Karnatak music, but in Hindustani music it is "Dhanshri").
  • He draws particular attention to the raga name "Husenī Vairāḍī." He notes that "Vairāḍī" in conjunction with "Husenī" suggests the emergence of new ragas during the Mughal period, created by Muslim musicians who then appended personal Arabic or Persian names to them. This is seen in modern ragas like "Vilasakhani Todi," "Huseni Kaneda," and "Huseni Yaman."
  • He also mentions that "Mallar" is still known by the same name today, but medieval musicological texts refer to it as "Mallari," which likely indicates a rāginī (female mode). The author raises the question of whether the melodies and structures of ragas with similar names from ancient musicology, Mughal-era Jain literature, and present-day ragas are identical or related, which is difficult to determine without more specific information.

• On Musicology and Raga Names (Anusandhan Issue 10):

  • Dhaky refers to the "Lekha Shringara" (composed by Muni Punyaharsha, 1582 CE), edited by Munivar Mahabodhijay. This text also contains several raga names: "Asāurī" (Hindustani "Asavari"), "Madhumādha" (Hindustani "Madhumadh Sarang," Karnatak "Madhyamādi"), "Desākh" (Desakhy, meaning Hindustani "Desh"), "Mālavīguḍu" (Karnatak "Malavagauḍa"), "Dhanyāsī," "Goḍī" (Gauḍi), and "Guḍīdhanyāsī" (Gauḍadhanyasi).

• On Vow-Taking and Lay Disciples (Anusandhan Issue 3):

  • He highlights an account from "Anusandhan Issue 3" detailing a description in Prakrit of a laywoman, Rani Shravika, taking twelve vows from Paurnimik Dharmaghoshasuri in Bharuch in VS 1165 (1109 CE). Dhaky considers this a rare finding.
  • He provides other similar instances of lay followers taking vows from Jain monks during the medieval period, citing examples like Chhada Shravaka in VS 1216 (1160 CE) with Mantunga, Ratnadevi Shravika in VS 1254 (1188 CE) with Bhadra Gupta Suri, and others. He refers to the "Catalogue of Palmleaf Manuscripts in the Shantinatha Jain Bhandara, Cambay."

• On the Term 'Ghaūlī' and Symbolism (Anusandhan Issue 3):

  • Dhaky discusses Bhayani Saheb's detailed explanation of the word "Ghaūlī" (on pages 28-29 of Issue 3). He explains that in the coastal cities of Saurashtra, where 'l' is often pronounced as 'r', the act of drawing a "Swastika" shape with ghee or sometimes clarified butter on a low stool or the ground is called "Ghaūrī kāḍhavī" instead of "Ghaūlī pūravī."
  • He clarifies that "Ghaūlī" and "Swastika" are related to the "Akshaya Swastika" (described in texts like the "Jivajivabhigamasutra" as "Akkha-yasothiya"), which has extended arms at its corners.
  • A crucial point he addresses is the common misconception among Jains that the "Akshaya Swastika" is the "Nandyavarta." This, he states, is a major error.
  • Furthermore, he points out another error: for centuries, the pronunciation and spelling of "Nandyavarta" have been mistakenly rendered as "Nandavarta," even by monks since the medieval period.
  • He emphasizes that "Nandyavarta" is a distinct shape from the "Akshaya Swastika," and its true form has been forgotten for about 1500 years. According to lexicographers, it resembles a marine creature like a "great fish" (Mahāmatsya) or a "crab" ("Karoliyā" or "Swarmer" / eight-footed creature), or perhaps the "Tagar" flower. The characteristic feature of the Nandyavarta, he explains, is its curled feet or petals.
  • He notes that the Nandyavarta is found on Mauryan era coins (Kārṣāpaṇa) and on Jain Ayāgapaṭṭas (votive slabs) from the Shaka period in Mathura, dating from the 3rd century BCE to the 1st century CE. He intends to present images of Swastika, Akshaya Swastika, and Nandyavarta side-by-side for comparison.
  • Both "Swastika" and "Nandyavarta" are included in the "Ashtamangala" (eight auspicious symbols). However, since the 11th century CE, the "Akshaya Swastika" has been depicted in sculptures and paintings instead of the "Nandyavarta" among Jains. He cites the example of the Shantinath Jinālaya in Kumbhariya (likely 1082 CE), where the Akshaya Swastika is mistakenly carved instead of the Nandyavarta on the Ashtamangala panel above the door. He notes that this practice of mistaking the Akshaya Swastika for the Nandyavarta continues even today.
  • He explains that "Nandyavarta" implies the cyclical rotation of Nandi (bull) around an axis, similar to how an ox turns in circles at an oil press or water wheel. He refers to an illustration from a 1st-century CE Mathura Ayāgapaṭṭa where a large auspicious symbol is carved in the center. Its four arms, described as resembling a fish's upper body, support the lexicographers' definition of it as a "Mahāmatsya."
  • He also mentions that these three symbols are sometimes depicted in a counter-clockwise (apavyasavyakrama) manner.

• On 'Gomutrika' and Related Terminology:

  • Dhaky mentions that Khodidas Paramara has further discussed the forms of "Ghaḍaṁlī" and "Swastika" in "Anusandhan Issue 4," with a special note by Bhayani Saheb, which is worth studying.
  • Paramara also discussed the term "Gomutrika" and its current Gujarati equivalent "Bālad mūtaraṇāṁ." He notes that in sculpture, the "Gomutrika" pattern is carved on "patraśākhā" (foliage branches) of temple doorframes, and older sculptors still refer to this pattern as "Bālad-mūtaranaṁ" in colloquial speech.

• On Haribhadra Suri's 'Panchashaka' (Anusandhan Issue 4):

  • Dhaky applauds Acharya Vijaypradyumna Suri for bringing to light the 20th chapter of Haribhadra Suri's "Panchashaka," which had been lost for centuries, calling it an extraordinary achievement. He suggests that the rediscovered chapter requires further examination in terms of its style, content, and context.

• On the 'Dhumavali-Prakarana' (Anusandhan Issue 5):

  • He describes the "Dhumavali-Prakarana," brought to light by Acharya Vijay Suryodaya Suri, as a delightful and captivating composition.
  • Based on the final word "Bhairavīraha" in the text, Acharya Suryodaya Suri suggested it might be a work by Haribhadra Suri (son of Yākinī). Dhaky agrees that this suggestion is not unfounded.
  • Considering its language, structure, and context, he believes the composition could predate the 10th century CE. If it is not from a Chaitravasi monk after the 8th century, it could indeed be by Haribhadra Suri. He suggests further study is needed for a definitive conclusion, stating his initial impression is that it is indeed by Haribhadra Suri.

• On the 'Shatrunjay-Mandana Rishabhdev-Stuti' (Anusandhan Issue 5 & 6):

  • In the same issue (pages 40-41), Munishri Bhuvanachandra published the "Shatrunjay-Mandana Rishabhdev-Stuti." Dhaky considers this a valuable composition related to the Tirthankara Rishabhdev, even though it is a later work.
  • He notes that although the 34th verse names "Vijaytilak," scholars in "Jain Gurjar Kavi" and "Gujarati Sahitya Kosh" attributed it to "Vasana," a disciple of Vijaydansuri. However, in "Anusandhan Issue 6" (page 114), Munishri corrected this based on the introductory mention of its commentary, clarifying that the previously identified error was made by later contemporary writers.
  • He confirms that the Vijaytilak Suri in question belonged to the Tapa Gachchha, and his period of activity is recorded as VS 1673-1676 (1617-1620 CE) by Mo. Da. Desai in his "Brief History of Jain Literature."

• On Saraswati Stotras (Anusandhan Issue 5):

  • In the same fifth issue, Munimahoday Shri Ratnakirti Vijayji published two Saraswati stotras. The first was already published by Sarabhai Nawab in "Mahapravik Navsmaran" (Ahmedabad, 1937). Its author is Bhadrakirti, also known as Bappabhattisuri (whose poetic period is approximately 770-839 CE). Dhaky mentions that Lakshman Bhojak also drew the Muni's attention to this.
  • The second stotra, a "Sarasvatyashtak" (eight-verse hymn) to the deity of knowledge, appears to be new. Dhaky observes that certain phrases in the composition, such as "panchatrimshadgunopeta" (endowed with thirty-five virtues), "samsrustivigamadhranyavardarshika" (revealing the dissolution of attachment and the nature of immutability), "gyan-darshan-charitra-ratnatritayadaika" (giver of the three jewels of knowledge, perception, and conduct), "syadvadihrudayambhojasthayini" (residing in the lotus heart of the Syadvadin), and "syadvadavadini" (speaker of Syadvada), suggest an authorship by a Digambara scholar due to their technical philosophical nature.
  • He also notes that some phrases exhibit touches of Brahmanical thought, such as "manupurvasvarupini" (having the form of Manu), "Bhuvaneshvari" (Goddess of the universe), "brahmabijadhvanmayi" (filled with the sound of the primal seed), and "hajjadyaṁdhakārasya harane tarani prabhā" (effulgence like the sun in dispelling ignorance).

The provided text concludes with an image illustrating the Swastika and Akshay Swastika. This summary covers the main points and scholarly observations made by M.A. Dhaky in his review.