Supasnaha Chariya Ni Hastlikhit Pothimana Rangin Chitro

Here's a comprehensive summary of the provided Jain text, "Supasnaha chariya ni Hastlikhit Pothimana Rangin Chitro" (Colored Pictures in the Manuscript of Suparshvanatha Charitra), authored by Munishri Punyavijayji:

This document is a descriptive article about a collection of 37 colored illustrations found within an ancient handwritten manuscript of the "Suparshvanatha Charitra" (Biography of Lord Suparshvanatha), composed by Shri Lakshmanagani.

The Manuscript:

• Origin: The manuscript is housed in the Shri Hemachandracharya Jain Gyan Mandir in Patan, belonging to the Tapagachchhiya Jain Sangh.
• Content: It contains 37 illustrations depicting various events from the life of Lord Suparshvanatha.
• Illustration Layout: 31 to 36 illustrations fill the entire page, while the rest occupy half or a third of a page. Each illustration is accompanied by its serial number and a description.
• Condition and Restoration: Three pages (20, 40, and 332) have been newly written and illustrated due to damage or decay. This means five illustrations (numbered 2, 3, 15, 16, and 71) are new and do not match the original artistic style. The remaining illustrations are ancient and well-preserved. Despite its overall aged condition, the manuscript is expected to last for several more centuries if maintained properly.
• Physical Details: The manuscript bears the number 15069 and has 443 folios. Its dimensions are 11 x 44 inches. Each page has twelve lines of text, with 32 to 38 characters per line. The script is described as beautiful and suitable for a richly illustrated manuscript.
• Dating: The manuscript was written in Vikram Samvat 1479-80 (approximately 1422-1423 CE).
• Colophon: A colophon at the end of the manuscript details its creation: it was written by Muni Hiranananda, a disciple of Bhavachandra, who was a disciple of Acharya Haribhadrasuri of the Mandahadiya branch of the Brihadgachchha. The writing took place in Devakulvatak (Delvada) in the Medpat region during the reign of King Mokala and Vikram Samvat 1480, Shaka 1345, on the 10th day of Jyeshtha Vadya, under a Shukra day with Bavakarana.

The Illustrations:

• Artist: The colophon does not explicitly state whether Muni Hiranananda himself created the illustrations or commissioned a specialist artist. The author suggests it's unlikely Hiranananda was the artist.
• Size: The illustrations range from approximately 1 to 3 inches in size, with most being around 3x3 inches, and some being as small as 1x1 inch.
• Colors: Nine colors were used: red, green, yellow, sky blue, pink, black, white, gold, and silver. The quality of the color preparation and mixing is described as excellent, with the colors still retaining their vibrancy and beauty despite the manuscript's age. The author notes the historical use of naturally derived colors from plants, soil, and metals, referencing other scholarly works that detail their creation.
• Artistic Tradition: The author emphasizes that the creation of these illustrations followed a specific artistic tradition, even if some of the underlying concepts are now forgotten. Viewers are encouraged to appreciate them from this historical perspective.
• Significance: The illustrations provide valuable insights into ancient customs, culture, attire, and various other aspects of life.

Selected Illustrations Featured in the Book:

The article then details six selected illustrations from the manuscript that are reproduced in the commemorative book:

1. Illustration 1 (Manuscript Folio 13): Depicts Lord Suparshvanatha as a baby in a cradle, being played with by his mother.
2. Illustration 2 (Manuscript Folio 17): Shows the wedding ceremony of Lord Suparshvanatha with Princess Soma, highlighting the exchange of garlands and joining of hands.
3. Illustration 3 (Manuscript Folio 19): Illustrates Lord Suparshvanatha's renunciation (diksha) and his act of plucking his hair. The surrounding trees are rendered beautifully.
4. Illustration 4 (Manuscript Folio 35): Features Shri Suparshvanatha's chief Ganadhara, Din Ganadhara, preaching in a forest before an assembly. The drawing skillfully depicts the trees and the respectful audience.
5. Illustration 5 (Manuscript Folio 36): Relates to the Nirvana Kalyanak (liberation ceremony) of Lord Suparshvanatha. It is divided into three parts:
   • The first shows the Lord in Kayotsarga mudra (meditative posture) on Sammet Shikhar mountain, entering final samadhi.
   • The middle section depicts gods carrying the Lord's body in a palanquin and celebrating the Nirvana festival.
   • The final part portrays the cremation of the Lord's body, with the burning form depicted amidst flames.
6. Illustration 6 (Manuscript Folio 37): The final illustration, showing Lord Suparshvanatha attaining Siddhipada (the state of liberation).

List of All Illustrations and Their Descriptions (from the Manuscript):

The document includes a comprehensive list of all 37 illustrations found in the manuscript, with their serial numbers and brief descriptions, often in a mixed language (Sanskrit-dominant). This list covers events from the Lord's birth, his early life, renunciation, attainment of omniscience, preaching, and liberation. It also includes descriptions of specific characters and scenes, such as Saraswati Devi, the King, various dreams, and mythological events involving gods and demons.

In essence, the article is a scholarly presentation and appreciation of a significant Jain manuscript, highlighting its artistic, historical, and religious value through the detailed description and reproduction of its colorful illustrations.