Stambhanadhish Prabandh Sangraha Bhumika

This document is the introduction (Bhumika) to the "Stambhanadhish Prabandh Sangraha," a collection of narratives attributed to Acharya Merutunga. The author of this introduction is Shilchandrasuri.

Here's a summary of the key points from the introduction:

Nature of the Work:

• Predominantly Mythological/Puranic: The collection is noted for its abundance of mythological and Puranic themes rather than strictly historical ones. The author himself refers to it as "Stambhanendra Purana."
• Rich Language and Scholarship: Despite its mythological leanings, the work is characterized by its impressive vocabulary, eloquent language, and a wide variety of names of places and individuals, indicating the author's deep scholarship.
• Unique Narratives: The stories presented are largely unique and not commonly found in other Jain or Puranic texts, suggesting a new or distinct tradition of storytelling.

Credibility and Authenticity:

The author addresses potential doubts about the authenticity of these novel narratives by presenting three main reasons for their credibility:

1. Cited Sources: The author lists numerous (often now lost) source texts used in the compilation. These include texts like 'Shankhini Mata,' 'Dooshamgandikabandha,' 'Bhairavi Charita,' 'Vidya Kalpa,' 'Mantra Sara,' 'Shri Bindusara Choola,' 'Yoni Prabhruta Karnika,' 'Deva Mahima Sagar,' 'Prabhruta Patala,' and 'Devendra Stava.' While most of these are not available today, their mention suggests a basis in existing literature at the time.

   • Internal Sources: Besides written texts, the author also cites internal sources like knowledge gained from a guru, teachings from learned individuals ('Bahushruta'), the influence of worshipping Goddess Padmavati, the grace of Goddess Saraswati, and collaborations with other scholars.

2. Author's Self-Awareness and Humility: The author acknowledges the novelty of the work, even stating "Abhinav grantharambham chain shramyami" (I embark upon this new text). However, the author also demonstrates a profound commitment to Jain principles, repeatedly expressing caution against deviating from scripture and tradition ("Utsutra-sutra viparit," i.e., contrary to established rules). The author also includes passages where they seek forgiveness for any unintentional errors or deviations, showcasing transparency and adherence to the teachings of previous āchāryas like Merutunga.

3. Validation by Other Scholars: The work was not released without prior review. The author states that it was published only after being verified and approved by prominent figures like Shri Rajshekhar Suri of the Maladhar Gaccha (author of 'Prabandh Kosh') and other virtuous scholars of the community.

Central Theme and Author's Focus:

• Glory of Stambhanasurya Parshvanatha: The primary aim of the author is to glorify the idol of Shri Stambhanasurya Parshvanatha. The text reveals a deep personal faith and devotion to this deity.
• Interpreting Non-Jain Concepts: The author also attempts to assimilate or re-interpret non-Jain beliefs and practices within a Jain framework, which is seen as a unique aspect of the work.

Historical Significance:

Despite its Puranic nature, the introduction highlights elements that are historically valuable:

• Information about ancient sites and practices:
  • Mention of Jhanjhuwada, its Sun Temple.
  • Panchasar (formerly Panchasar) and the nearby village of Padala.
  • The Nemnath statue (made during Nemnath's lifetime) which is said to have been moved to a mountain at the Talaja pilgrimage site.
  • The replacement of the original idol at Shankheshwar with a new one during the author's time.
• Etymological explanations:
  • The origin of the name "Stambhan" for Parshvanatha is attributed to the sage Nagarjuna using the idol for achieving rasasiddhi (perfection in alchemy/metallurgy), which acted as a stambhana (stoppage/foundation) for the process.
  • The origin of the city name Stambhanpur (modern Thamana near Umreth) is also linked to this idol and the river "Sedhi."
• Chronological data: The introduction provides a specific date for the arrival of the idol at the Stambha Tirtha: 1368 VE (Vikram Era), for the benefit of devotees. This contradicts the common belief that the idol was moved due to Muslim invasions, suggesting a new historical perspective presented in this work.

Manuscript and Publication:

• Single Surviving Manuscript: Only one manuscript of this work has been found, suggesting it might not have received widespread acceptance or immediate approval historically, perhaps due to its novel content.
• Patna Manuscript: The surviving manuscript is from the Hemchandracharya Gyanbhandar in Patan.
• Dating: The manuscript dates from 11 years after the composition (1413 VE), indicating its authenticity.
• Editorial Notes: The introduction details the condition of the Patan manuscript, noting missing pages and the reliance on its Xerox copy and a "press copy" made earlier.
• Title: The title "Stambhanadhish Prabandh Sangraha" is given based on an inscription found on the final page of the Patan manuscript, which mentions "Stambhanadhish Prabandhaḥ 32."
• Acknowledgements: Thanks are extended to the authorities of the Patan Bhandar and the Prakrit Granth Parishad for their cooperation in making the manuscript available.

In essence, the introduction positions the "Stambhanadhish Prabandh Sangraha" as a significant, albeit somewhat unconventional, Jain text that, despite its Puranic focus, offers valuable insights into ancient Jain traditions, the history of specific idols and places, and the textual and scholarly landscape of its time, all presented with the author's deep faith and scholarly rigor.