Varddhamanakshara Chaturvinshati Jin Stuti

This document is an introduction to and presentation of the Varddhamanakshara Chaturvinshati Jin Stuti, a Jain text authored by Shri Lakshmikallolgani and edited by M. Vinaysagar.

Here's a breakdown of the content:

Page 1-2: Introduction to Stotra Literature and Jain Stutis

• The Importance of Stotra Literature: The text begins by highlighting the rich tradition of stotra literature in Indian culture, emphasizing its role as the "heart" of Indian literature. It notes that various religious traditions, including Buddhism, Vaishnavism, Shaivism, Shaktism, and Jainism, have contributed to this genre by composing hymns to their respective deities.
• The Nature of Stotras: Stotras are described as a means for devotees to express their emotions freely and sincerely before their chosen deity. They are characterized by a pure, unadorned language of the human heart, accessible even to those who don't understand the literal meaning. The power of a stotra lies in the intensity of the devotee's feeling, which naturally finds eloquent expression in words.
• Two Forms of Jain Worship: Jain scholars have adopted two primary methods for worshipping the divine (Bhagvat-stavana):
  1. Stotra: These are hymns that praise a specific Tirthankara or all Tirthankaras collectively, or a Tirthankara at a particular pilgrimage site. Stotras often incorporate philosophical discussions, the principles of Anekantavada and Syadvada, and descriptions of the Tirthankara's divine attributes like the eight Mahapratikaryas, 34 embellishments, and 18 types of speech. They also involve expressing personal humility and acknowledging one's own failings.
  2. Stuti: These are shorter compositions, typically consisting of four verses.
     • The first verse praises a specific Tirthankara or Jin in general.
     • The second verse praises all Tirthankaras.
     • The third verse praises the twelvefold canon (Dvadasangi Agama) as expounded by the Tirthankaras.
     • The fourth verse praises a specific Tirthankara or the presiding deity of their reign.
• Classification of Stutis: Stutis are further categorized into general and specific. Specific stutis are characterized by the inclusion of poetic devices like yamaka (rhyme) and shlesha (pun), along with variations in meter and ingenious expressions. Authors like Acharya Bappabhattisuri and Shobhanmuni are cited as masters of specific stutis. The text notes that composing verses with increasing numbers of syllables is a mark of great scholarship.

Page 2-3: About the Author, Shri Lakshmikallolgani

• Authorship and Lineage: The Varddhamanakshara Chaturvinshati Jin Stuti is attributed to Shri Lakshmikallolgani. The text mentions that he was a disciple of Shri Harshakallolgani, as indicated in the final inscription ("U. Shri Harshakallolaprasadat"). It traces his lineage through Acharya Somdev Suri, who had disciples like Kamal Kalash and Nigam Mat. Somdev Suri was a disciple of Tapa Gachhadhipati Somasundar Suri but also recorded as a disciple of Lakshmisagar Suri in a 1522 inscription. Lakshmikallolgani was a grand-disciple of Shri Agam Mandan Suri and a disciple of Shri Harshakallolgani.
• Biographical Information: Unfortunately, little is known about Lakshmikallolgani's personal life, including his birth, initiation, or specific positions held.
• Scholarly Expertise: He was a learned scholar in both Agam literature (Jain scriptures) and Kavya literature (poetry).

Page 3-4: Works and Scholarship

• Commentaries on Agam Literature: Lakshmikallolgani wrote two commentaries on Agam texts:
  1. Tattvagama Sutra Teeka on the Acharaanga Sutra: Completed in Samvat 1596. In the "Sankshipt Itihas of Jain Literature," this is referred to as an Avachurni.
  2. Mugdhabodha Teeka on the Jnatadharmakathaanga Sutra: The date of composition is not available, but according to Shri Desai, it was likely written between Vikram Samvat 1597-1637 during the reign of Somavimal Suri. This places his active period of literary creation between 1590 and 1640.
• Independent Works (Stotras): Besides these commentaries, he is credited with several independent stotras, including:
  • 1199 Jin Stava (Samasyashtaka)
  • 1342 Sadharana Jin Stava (Samasyashtaka)
  • 1440 Rishabhdev Stava
  • 1772 Mahavir Stotra (with Savachuri)
  • 5089 Samasyashtaka
  • 6232 Sadharana Jin Stava (108 meanings of the word 'Parag')
• Skill in Poetic Devices: The stotras composed by Lakshmikallolgani appear to be rich in "miraculous" elements, suggesting he was also an accomplished scholar of grammar and prosody.
• The Varddhamanakshara Chaturvinshati Jin Stuti: This specific work is his independent composition. It contains praises for the 24 Tirthankaras and an additional praise for Gautama Gandhara (the chief disciple of Lord Mahavira).
  • Unique Structure: Each praise is composed in verses with an increasing number of syllables, starting from one syllable and going up to twenty-five. This is detailed in the appendix listing the meters used.
  • Mastery of Prosody: The author's deep knowledge of Sanskrit prosody is evident in his use of various, often rare, meters.
  • Use of Anupraasa: The concluding inscription highlights the extensive use of anupras alankar (alliteration) in every stuti. The editor notes that the first and second, and third and fourth lines of each verse, often feature alliteration with one or two syllables. An example is provided from the Vimalnath stuti. The author's intention was clearly to emphasize alliteration.
  • Other Poetic Devices: Devices like shlesha (pun), upama (simile), rupaka (metaphor), and yamaka (rhyme) are also woven in like pearls throughout the text.
• Rarity of the Work: Copies of this stuti are very rare. A manuscript was prepared by the esteemed Ganivarya Shri Buddhimuni Ji Maharaj in Jamnagar in Vikram Samvat 2001. The editor expresses gratitude to him for sending his copy, which is now being published.

Page 4-5: Publication and Usage

• Editorial Efforts: The editor explains that the manuscript prepared by Ganivarya Buddhimuni Ji Maharaj did not indicate the original source library, making it impossible to specify the provenance of the manuscript used for this publication.
• Practical Application: These stutis can be used during the morning and evening pratikraman (repentance rituals). The work is presented for the enjoyment of the readers.

Page 5 onwards: The Stutis Themselves

This section contains the actual stutis, each dedicated to a Tirthankara (starting from Rishabhdev) and then to Gautam Gandhara. Each stuti is composed in a specific meter, which is indicated in parentheses. The stutis themselves are devotional verses praising the attributes and glory of the respective spiritual figures.

Page 20-22: Appendices and Explanations

• Syllable and Meter Explanations: This section provides detailed explanations of the meters used in the stutis, listing their names, syllable counts, and characteristic patterns of guru (long) and laghu (short) syllables. It acknowledges that some of these meters are rarely used or are known by alternate names.
• Sanskrit and Prakrit Academy Mention: The text concludes with a mention of "Prakrit Bharti Academy, 13-A, Main Malviya Nagar, Jaipur" as the source for some of the catalog information.

Overall Summary:

The "Varddhamanakshara Chaturvinshati Jin Stuti" is a significant Jain devotional work by Shri Lakshmikallolgani, a respected scholar of Jain scriptures and poetry. The text itself is a collection of praises for the 24 Tirthankaras and Gautam Gandhara, notable for its unique structure of increasing syllable counts in each verse and the masterful use of poetic devices, particularly alliteration. The introduction by M. Vinaysagar provides valuable context on Jain stotra literature, the author's background, and the significance of this particular composition. The publication aims to make this rare and beautiful devotional text accessible to a wider audience.