Thodi Laghu Krutiya - Book Summary

Here is a comprehensive summary of the provided Jain text, "Thodi Laghu Krutiya" by Vinaysagar, focusing on the key points and texts discussed:

The text "Thodi Laghu Krutiya" by Vinaysagar, published by ZZ_Anusandhan, is a scholarly exploration of several minor literary works (Laghu Krutiya) related to prominent Jain figures and historical events. The book presents and analyzes these discovered manuscripts, offering insights into their authors, historical context, and content.

The summary covers the following key works:

1. Neminaath-Bhasadvaya (Two Bhas on Neminatha) by Siddhivijay:

Author: Siddhivijay, a disciple of Kanakvijay and Shreelvijay, who were disciples of Heeravijaysuri.
Manuscript: A single leaf manuscript, dating back to the 17th century, measuring 24.3 x 10.4 cm, with 13 lines and 42 characters per line. The script is described as large and beautiful, written in the "Gujjar" language.
Content: These two "Bhas" (a type of lyrical composition) describe the emotions and lamentations of Rajul, the beloved of Neminatha.
- First Bhas: Depicts Neminatha turning back his chariot upon hearing the cries of animals destined for sacrifice. Rajul expresses her grief, noting Neminatha's hardened gaze. The Bhas then moves through the months of Ashadh, Shravan, and Bhadrapada, reflecting on the passing clouds, rain, and the lingering memories that evoke tears in Aasoja. Rajul questions Neminatha's actions and the pain of separation, feeling heartbroken. The Bhas concludes with Siddhivijay stating that the cycle of worldly existence is broken, and upon Neminatha attaining Kevala Jnana, Rajul also attains him.
- Second Bhas: Rajul confides in her friend, expressing her longing to see Neminatha again, feeling like a fish without water. She laments the burning pain of separation and the inability to share her thoughts. She questions why Neminatha returned from the wedding procession. The Bhas ends with Rajul finding peace through meditating on the pure Neminatha.
Significance: These two Bhas are considered previously unpublished and undiscovered. Siddhivijay's grand-disciple was the renowned Mahopadhyay Meghvijay. Siddhivijay is known to have composed only four minor works, with the other two related to Vijaydevsur.

2. Mahopadhyay Anantahansagan Swadhyay (On Mahopadhyay Anantahansagan) by Kanakmanikyagan:

Author: Kanakmanikyagan. No further biographical details are available for him.
Subject: Mahopadhyay Anantahansagan, a learned scholar and disciple of Shri Jinamanyasuri.
Manuscript: A single leaf manuscript, measuring 264 x 114 cm, with 17 lines and approximately 45 characters per line. The script suggests the late 16th century, written in the "Maru-Gujjar" language with some influence of Apabhramsha.
Content: The Swadhyay praises Mahopadhyay Anantahansagan, likening him to the moon in the sky of Jainism, the source of joy, and a superior swan among scholars. It highlights his knowledge of Agamas, prosody, and Puranas, his victory over desires, and his adherence to practices like ascetics. The text describes him as illuminating the Tapagachha and possessing unparalleled conduct and self-control. The composition mentions historical events, including the patronage of King Bhan of Idar, who was a poet and respected poets. It details the spiritual prowess and discipleship of Anantahansagan under Shri Jinamanyasuri, the conferral of the Upadhyay title by Shri Lakshmisagarsuri, and his association with Shri Sumatisadhusuri.
Historical Context: The text mentions King Bhan of Idar, a patron of arts and literature. It connects Anantahansagan to specific historical periods and individuals, including the installation of Ajitnath images in 1533 Vikram Samvat and Sumatisadhusuri becoming an Acharya during King Bhan's reign. It also notes Anantahansagan's composition of "Das Drushtant Charitra" in 1571 and "Ilakar Chaitya Paripati" in 1570.
Key Findings: This work establishes Anantahansagan as a disciple of Shri Jinamanyasuri, recipient of the Upadhyay title from Shri Lakshmisagarsuri, and that the Swadhyay was composed by Kanakmanikyagan, a disciple of Shri Sumatisadhusuri. The text provides genealogical information about the Tapagachha lineage, placing Shri Lakshmisagarsuri as the 53rd Pattacharya and Shri Sumatisadhusuri as the 54th. It is estimated that Anantahansagan received the Upadhyay title between 1525 and 1535 Vikram Samvat.

3. Shri Vijaydansuri Bhas (Bhas on Shri Vijaydansuri) by Bheemkavi:

Author: Bheemkavi.
Subject: Acharya Purandar Shri Vijaydansuri, the 57th Pattacharya of the Tapagachha, a disciple of Shri Anandvimalsuri.
Manuscript: A single leaf manuscript, measuring 26 x 11 x 3 cm, with 15 lines and 52 characters per line, dating from the 17th century. The language is primarily "Gujjar" with some Apabhramsha influence. It also includes two "Sajjhay" related to Shri Vijayhirsuri.
Content: The Bhas provides biographical details about Shri Vijaydansuri, including his birth in 1553, initiation in 1562, and Acharya title in 1587. It mentions his significant influence in various cities and the installation of over a hundred idols. A notable detail is that Acharya Shri Vijaydansuri performed his Chaturmas at the residence of Shah Kunvarji in Natpadra (likely Nadiad) in 1612 Vikram Samvat. The text highlights the extensive religious activities during this Chaturmas, including various vows and penances. It also mentions that Shri Vijaydansuri, son of Shri Lakshman and Mata Bharamade, brought salvation to the world by taking initiation.
Significance: This work provides previously unknown information about Shri Vijaydansuri's parents. It emphasizes the practice of Acharyas observing Chaturmas at lay followers' residences for specific reasons. The composition also details the Acharya's virtues, practices, and vows.

4. Shri Heeravijaysuri Sajjhay (Sajjhay on Shri Heeravijaysuri) 'Hirala':

Subject: Jagadguru Shri Heeravijaysuri, the 58th Pattacharya of the Tapagachha and disciple of Shri Vijaydansuri.
Background: Heeravijaysuri is renowned for his role in converting Emperor Akbar. His life is documented in various works like 'Jagadguru Kavya' by Padmasagar, 'Kruparasa Kosha' by Shantichandropadhyay, 'Heerasaukhya Kavya' by Devvimal, 'Heeravijaysurirasa' by Kavirat Rishabhdas, and 'Surishwar ane Samrat' by Vidyavijayji.
Manuscripts: Two Sajjhay fragments, each measuring 26 x 11 x 3 cm, with 13 lines and 52 characters per line, dating from the 17th century. The language is primarily "Gujjar." These Sajjhay are found alongside the Shri Vijaydansuri Swadhyay.
- First Sajjhay: The author is unknown. This Sajjhay of five verses praises Heeravijaysuri's virtues, mentioning his discipleship under Shri Vijaydansuri and his role as a repository of equanimity and a savior of beings. It highlights his radiant appearance and sweet-spoken discourses, noting his ability to enlighten humans, gods, and Indra. The author vows to praise him and states that his disciple, Shri Vijaydansuri, will illuminate Jainism for millions of years. This Sajjhay is likely composed before Heeravijaysuri's interaction with Emperor Akbar (before 1639 Vikram Samvat).
- Second Sajjhay: The author is also unclear. The end of the 9th verse mentions "Shri Vishal Sundar Sis Payampai," which could mean it was composed by Vishal Sundar, a disciple of Heeravijaysuri, or by a disciple of Vishal Sundar. This composition also predates the association with Emperor Akbar. It consists of 10 verses praising Heeravijaysuri as the sun of Jainism, a treasure of virtues, the moon of the Tapagachha sea, a victorious king of the Gachha, an Indra-like conqueror through his knowledge, and a holder of great glory and a pure name. It details his knowledge of scriptures, practice of vows, and his auspicious presence. It describes him as free from anger, a storehouse of peace, free from enemies, and a source of happiness for the virtuous. It emphasizes his adherence to the five types of conduct (Panchachara) and his role in promoting Jainism as long as celestial bodies and mountains exist.

In essence, "Thodi Laghu Krutiya" by Vinaysagar meticulously unearths and analyzes these ancient Jain literary pieces, providing valuable historical and spiritual insights into the lives and contributions of significant Jain scholars and saints.