Uttaradhyayana Sutra Chitravali

Here's a comprehensive summary of the provided Jain text, "Uttaradhyayana Sutra Chitravali" by Sarabhai Manilal Nawab, published by Devchand Lalbhai Pustakoddhar Fund:

Book Title: Uttaradhyayana Sutra Chitravali (Illustrated Uttaradhyayana Sutra) Author: Sarabhai Manilal Nawab Publisher: Devchand Lalbhai Pustakoddhar Fund Catalog Link: https://jainqq.org/explore/004847/1 Publication Year: Vikram Samvat 2018 (Veer Samvat 2488) Price: Two Rupees

This book is a collection of illustrations and accompanying descriptions for the Uttaradhyayana Sutra, one of the most important scriptures in Jainism. The Uttaradhyayana Sutra details various aspects of Jain philosophy, conduct, and teachings, particularly focusing on the path to liberation. This "Chitravali" (illustrated version) aims to visually represent the concepts and narratives within each of the 37 chapters (Adhyayanas) of the Sutra.

The text begins with an introduction by Sarabhai Manilal Nawab, highlighting the publisher and the purpose of the book. It then proceeds to provide a detailed description for each of the 37 chapters, focusing on the visual elements depicted in the accompanying illustrations.

Here's a breakdown of the content chapter by chapter, based on the provided text:

Chapter 1: Vinay Shruta ( विनय श्रुत)

• Description: This illustration is divided into four parts. It depicts a Tirthankara's image, a Guru giving sermons to disciples, an Acharya, a monk in the Kaushagga mudra (meditative posture), a householder, and scenes involving trees and fire pits.
• Essence: Visually represents the essence of the first chapter on "Vinay Shruta" (humility and learning).

Chapter 2: Parishaha (परीसह)

• Description: Also in four parts, this illustration portrays monks enduring hardships (Parishaha). Scenes include a monk being pressed in an oil-crushing machine, a monk being covered to overcome hardship, Aryakalkacharya and Shakuni, and discussions about religious matters. It also references the story of Skandila Acharya and Kalikacharya.
• Essence: Visually depicts the concept of Parishaha (endurance of hardships) central to Jain asceticism.

Chapter 3: Charanangi (चरंगी)

• Description: Divided into four parts, this illustration shows householders, gurus and disciples, a couple with a woman, two men facing each other, a Sadhvi (nun) with a devotee, and a householder looking towards a mountain near a well.
• Essence: Captures the essence of the third chapter.

Chapter 4: Asanskrita (असंस्कृत)

• Description: This chapter's illustration has three parts, showing a window with a swan, a monk sleeping on a wooden plank with a rooster, and a two-headed bird holding something in its beaks, a pot of water, and a monk sitting in an awkward posture.
• Essence: Illustrates the themes of the fourth chapter.

Chapter 5: Akama Maraniya (अकाम मरणिय)

• Description: In four parts, this illustration features a swan in a window, a monk resting with disciples, people praising a Guru, and musicians playing various instruments.
• Essence: Depicts the concepts related to "Akama Maraniya" (dying without desire).

Chapter 6: Kshullaka Nigranth (क्षुल्लक निग्रंथ)

• Description: The illustration shows an artistic window, a Shravika (devout laywoman) offering food to a monk from a pot of grain, a young monk with a staff and begging bowl, and a canopy. It references the story of Shrivatsa Acharya and Ishwari Shravika.
• Essence: Illustrates the sixth chapter, possibly related to junior monks and acts of charity.

Chapter 7: Alaka (अलक)

• Description: This three-part illustration includes an artistic window, a bearded man and a youth with an elephant in between, and two bulls with a pot full of jewels in the middle.
• Essence: Captures the essence of the seventh chapter.

Chapter 8: Kapilik (कापिलिक)

• Description: This two-part illustration shows a king in his palace with an attendant, a burning fire pit, a running man, a white elephant, a pond, and a monk conversing with Indra.
• Essence: Illustrates the eighth chapter.

Chapter 9: Nami Pravrajya (नमि प्रव्रज्या)

• Description: The two-part illustration depicts King Nami on his throne conversing with his queen, and Indra with four arms meeting King Nami, who is in the form of a sage, along with his attendants.
• Essence: Represents the themes of the ninth chapter, focusing on Nami Raja's renunciation.

Chapter 10: Drum Patrak (दुम पत्तक)

• Description: This three-part illustration features Lord Mahavir's idol, monks listening to a sermon, a Shravak, a Shravika, and two Sadhvis listening with eagerness, and animals with natural enmity (like lion and elephant) listening to the sermon without conflict.
• Essence: Illustrates the tenth chapter, highlighting Lord Mahavir's sermon and its impact on all beings.

Chapter 11: Bahushrut Pujya (बहुश्रुत पूज्य)

• Description: The three-part illustration shows a Guru giving a sermon, monks respecting his vast knowledge, and four Shravaks and four Sadhvis also honoring the Guru's extensive learning.
• Essence: Captures the essence of the eleventh chapter, emphasizing the reverence for profound knowledge.

Chapter 12: Harikeshiya (हरिकेशीय)

• Description: This illustration depicts the ascetic monk Harikeshi in a meditative posture in a temple, a woman showing devotion, a running deer, a white parrot, a tree, young men, and a river with aquatic creatures.
• Essence: Illustrates the twelfth chapter, focusing on the ascetic Harikeshi.

Chapter 13: Sambhutiya (संभूतीय)

• Description: The three-part illustration shows a Guru giving a sermon to a disciple, wealthy men conversing, women talking, a running youth, and two deer running with a youth near a river.
• Essence: Captures the themes of the thirteenth chapter.

Chapter 14: Dhundhukariya (धंधुकरीय)

• Description: This two-part illustration depicts a king with a sword and his queen conversing, with a canopy, and royal attendants. It also shows the king and queen seated together under a canopy with swan motifs.
• Essence: Illustrates the fourteenth chapter, possibly related to royal life and decisions.

Chapter 15: Sabhikappu (सभिकप्प)

• Description: The illustration shows a monk in a sermon posture, with large trees, swans, a mountain with figures of a dog, serpent, and deer.
• Essence: Captures the essence of the fifteenth chapter.

Chapter 16: Brahmacharya Samadhina Sthana (ब्रह्मचर्य समाधिना स्थाना)

• Description: This two-part illustration shows a monk in a meditative posture being harassed by men driving nails into his ears, and a dancing woman accompanied by musicians playing a horn and a drum.
• Essence: Visually represents the obstacles to maintaining celibacy (Brahmacharya).

Chapter 17: Papa Shramaniya (पाप श्रमणीय)

• Description: The two-part illustration depicts a monk holding a junior monk, a woman serving the monk, a householder scolding the monk for misbehavior, and a monk with a gold coin facing two householders.
• Essence: Illustrates the sinful conduct of monks as depicted in the seventeenth chapter.

Chapter 18: Samyatiya (संयतीया)

• Description: This two-part illustration shows King Samyati hunting on horseback, pursuing deer. It then shows the sage Gardabhali preaching to King Samyati and his attendant about the futality and consequences of hunting.
• Essence: Captures the essence of the eighteenth chapter, emphasizing the advice against hunting.

Chapter 19: Mrigaputriya (मृगापुत्रीय)

• Description: The illustration depicts King Balabhadra and Queen Mrugavati discussing the hardships faced by their son, Prince Mrigaputra, who has taken to a mendicant's life. A monk preaches to the king and queen, with a canopy, decorated ceiling, window with a peacock, golden finials, and flags.
• Essence: Illustrates the nineteenth chapter, focusing on the story of Prince Mrigaputra.

Chapter 20: Mahanigranthiya (महानिग्रंथीया)

• Description: This two-part illustration shows King Shrenik of Magadh hunting a deer from an elephant. It then depicts King Shrenik humbly questioning the Jain monk Anathishanti about his reasons for adopting asceticism at a young age, with another tree and clouds in the background.
• Essence: Captures the essence of the twentieth chapter, featuring King Shrenik and monk Anathishanti.

Chapter 21: Samudrapaliya (समुद्रपालीय)

• Description: The two-part illustration shows a king and queen with a canopy, and a man and woman seated. The second part depicts a Guru giving a sermon to a disciple at his feet, with a sea representing the context, and a householder approaching.
• Essence: Illustrates the twenty-first chapter, possibly related to the disciple Samudrapali.

Chapter 22: Rathnemiya (रथनेमीय)

• Description: The upper part shows clouds and two small shrines on Girnar mountain with Tirthankara figures. The left side depicts Muni Rathnemi, brother of Tirthankara Aristhnemi, in a cave. Beside him, Sadhvi Rajul is drying her wet clothes. The illustration also includes a deer and a peacock. It notes an error in the depiction of Sadhvi Rajul's attire.
• Essence: Captures the essence of the twenty-second chapter and highlights the use of various colors in the manuscript.

Chapter 23: Keshi Gautamiya (केशी गौतमीय)

• Description: This illustration shows Gandhar Keshi (a disciple of Tirthankara Parshvanath) and Gandhar Gautam (first disciple of Lord Mahavir) in discussion amidst trees in the Tinduka garden. White parrots are on the trees, a banana tree is in the center, and hills are at the bottom.
• Essence: Illustrates the twenty-third chapter, featuring a discourse between Keshi and Gautam.

Chapter 24: Samitiye (समितिए)

• Description: The central figure is a yellow-colored preaching figure in Kaushagga mudra, with Arhant Bhagwan on a white Siddhashila above, an Acharya in the chest and navel area, Upadhyayas at the knees, and monks at the feet. Shravaks are shown on either side, praising the preaching figure.
• Essence: Captures the essence of the twenty-fourth chapter, depicting the "Samitis" (careful conduct).

Chapter 25: Yajniya (यज्ञीय)

• Description: The three-part illustration shows two bearded men facing each other with pots of wine and cups. The second part depicts Brahmin Vijayghosh performing a fire ritual, sacrificing ghee into a burning fire pit, with a scared goat and a youth holding a knife. The third part shows three Vedic Brahmins, with Jain monk Jayghosh explaining the true meaning of sacrifice.
• Essence: Illustrates the twenty-fifth chapter, contrasting violent rituals with true sacrifice.

Chapter 26: Samachari (सामाचारी)

• Description: The upper part shows an artistic window with Sthapanacharya and a monk. The lower part depicts a Guru giving instructions on "Samachari" (conduct and discipline) to two monk-disciples.
• Essence: Captures the essence of the twenty-sixth chapter.

Chapter 27: Khalukiya (खलुंकिय)

• Description: This two-part illustration shows a cart pulled by oxen, with a bearded man inside. The second part depicts two monks fighting with sticks, while two other monks implore them to adhere to monastic discipline.
• Essence: Illustrates the twenty-seventh chapter, possibly concerning the conduct of monks.

Chapter 28: Mokshamarga (मोक्षमार्ग)

• Description: The central part shows a Guru in a circular posture, with Sthapanacharya. Above are a mountain, trees, and a deer. Below is a large tree with two monks listening to the Guru's sermon on the path to liberation. The bottom shows a forest with a deer moving towards a river.
• Essence: Captures the essence of the twenty-eighth chapter, focusing on the "Mokshamarga" (path to liberation).

Chapter 29: Samyaktva Parakram (सम्यक्त्व पराक्रम)

• Description: This three-part illustration depicts a Guru giving a sermon, with Sthapanacharya, a young monk, and other monks listening. The second part shows four Shravaks listening, and the third part shows two Sadhvis and two Shravikas listening.
• Essence: Illustrates the twenty-ninth chapter, emphasizing the "Samyaktva Parakram" (effort towards right faith) and the presence of the Chaturvidh Sangh (four-fold community).

Chapter 30: Tapamarga (तपा मार्ग)

• Description: The illustration shows an ascetic monk in Kaushagga mudra, with Shravaks on both sides admiring his penance.
• Essence: Captures the essence of the thirtieth chapter, focusing on the "Tapamarga" (path of austerity).

Chapter 31: Charanvidhi (चरणविधि)

• Description: This two-part illustration shows a monk seated on a white elephant, symbolizing knowledge. The second part depicts Saudharmendra (Indra) with four arms listening to a sermon and praising the virtuous conduct of two monks.
• Essence: Illustrates the thirty-first chapter, possibly related to virtuous conduct.

Chapter 32: Pramadisthana (प्रमादिस्थान)

• Description: The first part shows a Jain monk arguing with a householder, with another monk observing in surprise. The second part depicts a monk resting comfortably, with two monks waiting for his command.
• Essence: Captures the essence of the thirty-second chapter, illustrating negligent or heedless behavior.

Chapter 33: Karmaprakriti (कर्मप्रकृति)

• Description: The three-part illustration features a Jinapratima (image of a Tirthankara) with devoted Shravaks. The middle part shows a Jinapratima in a lotus, with a monk in Kaushagga mudra and another in a preaching posture. The third part depicts a Guru preaching to two monks, with Sthapanacharya in between.
• Essence: Illustrates the thirty-third chapter, focusing on "Karmaprakriti" (nature of karma).

Chapter 34: Lesha (लेश्या)

• Description: This three-part illustration depicts the six types of Leshyas (subtle states of mind) through figures of different colors: Krishna (black), Neela (blue), Kapila (reddish-brown), Tejo (fiery), Padma (lotus-like), and Shukla (white). The colors represent states of mind from negative to positive.
• Essence: Captures the essence of the thirty-fourth chapter, explaining the concept of Leshyas.

Chapter 35: Anagar (अणगार)

• Description: The first part depicts a square Samavasarana (a divine assembly hall) with Jinamurtis at various levels and an Ashoka tree. The second part shows two householders and two monks engaged in religious discussion.
• Essence: Illustrates the thirty-fifth chapter, potentially about the state of being a homeless ascetic.

Chapter 36: Jivajiva Vibhakti (जीवाजीवा विभक्ति)

• Description: This four-part illustration depicts the four Gatis (realms of existence): Dev gati (celestial beings), Manushya gati (human beings), Tiryancha gati (animals), and Naraka gati (hellish beings) through various symbolic representations.
• Essence: Captures the essence of the thirty-sixth chapter, explaining the classification of living beings and their states of existence.

Chapter 37: Chaturvidh Sangh (चतुर्विध संघ)

• Description: This three-part illustration showcases Lord Mahavir in ascetic form, preaching to Gandhar Gautam. It also depicts four Shravaks and two Sadhvis and two Shravikas listening attentively, representing the Chaturvidh Sangh (monks, nuns, male lay followers, and female lay followers).
• Essence: Highlights the structure of the Jain religious community and the importance of the Chaturvidh Sangh.

The book concludes with details about the manuscript itself, noting it is from the collection of Pujya Shri Punyavijayji, has 91 pages, and 37 illustrations. The colophon provides information about the publisher, printer, and the completion date of the printing.

In essence, the "Uttaradhyayana Sutra Chitravali" serves as a visual guide to understanding the profound teachings of the Uttaradhyayana Sutra, making its complex philosophical and ethical concepts more accessible through its detailed and evocative illustrations.