Vibudh Shridhar Evam Unka Pasnaha Chariu - Book Summary

This is a comprehensive summary of the Jain text "Vibudh Shridhar evam Unka Pasnaha chariu" by Rajaram Jain, based on the provided PDF pages:

The article discusses Vibudh Shridhar and his significant work, "Pasnahachariu", a biography of Lord Parshvanatha written in the Apabhramsha language. The author, Rajaram Jain, highlights the importance of this work, noting that it has remained unpublished until the present.

Historical Context and Literary Tradition:

The life of Lord Parshvanatha has been a popular subject for Jain poets across various languages like Sanskrit, Prakrit, Apabhramsha, and Hindi.
Notable earlier works on Parshvanatha include "Parshvodayam" by Jinasen (9th century CE), "Parshvanathacharitram" by Vadiraju (1082 CE), "Pasnahachariya" by Devbhadra (1196 CE in Prakrit), and "Pasnahachariu" by Padmakirti (1181 CE in Apabhramsha).
These works inspired later poets like Manikhyachandra, Bhavadevsuri, Aswal, Bhattarak Sakalkirti, Kavi Raghu, Padmasundar, Hemvijay, and Pandita Bhudhardas.
Vibudh Shridhar's "Pasnahachariu" is presented as a significant contribution to this tradition.

The "Pasnahachariu" Manuscript:

A manuscript of the "Pasnahachariu" is preserved in the Amer Shastra Bhandar, Jaipur.
It consists of 99 folios, each measuring 10" x 43" and containing 12 lines with 35-40 characters per line.
The manuscript's transcription date is 1577 CE, and it is described as clear and accurate.

Identifying Vibudh Shridhar:

The article notes that there are approximately eight Jain scholars named Vibudh Shridhar, with numerous works attributed to them.
These include "Pasnahachariu," "Vaddhamanchariu," "Sukumalachariu," "Bhavisyattakaha," "Bhavisyattapanchami Charu," "Bhavisyattapanchami Katha," "Vishwalochankosh," and "Shrutavataarkatha."
The author clarifies that based on internal and external evidence and their respective time periods, it is evident that the last three works are in Sanskrit, and the fifth is in Apabhramsha. The author believes that the four earlier works mentioned (Pasnahachariu, Vaddhamanchariu, Sukumalachariu, Bhavisyattakaha) are by different Vibudh Shridhars, as their composition dates (between the 14th and 17th centuries CE) are significantly later than the "Pasnahachariu" (1189 CE).

Poet's Biography and Timeline:

The "Pasnahachariu" mentions Vibudh Shridhar's father as Golha and his mother as Vilha. No further familial details are provided.
His title "Vibudh" suggests he received widespread respect for his poetic talent.
The poet also mentions having written "Chandraprahachariu" and "Santijinesharachariu," which are currently unavailable.
The composition end dates for his known works are: "Pasnahachariu" (1189 CE), "Vaddhamanchariu" (1190 CE), "Sukumalachariu" (1208 CE), and "Bhavisyattakaha" (1230 CE).
Based on the composition of the available works and assuming he started writing around age 20, the author estimates Vibudh Shridhar's lifespan to be roughly from 1159 CE to 1230 CE.

Residence and Contemporary Rulers:

Vibudh Shridhar identified himself as a resident of the Haryana region.
After completing "Chandraprahachariu," he moved to Dhilli (modern Delhi), which was then ruled by King Anangapal Tomar.
Anangapal Tomar is described as having defeated a brave king named Hammir. The article speculates this Hammir might be Hahulirav Hammir of Kangra.
The article connects these historical references to inscriptions in the "Indraprastha Prabandha" and the "Prithviraj Raso," noting that Dhilli was the contemporary name for Delhi.
The naming of Dhilli is linked to a story involving Anangapal's daughter, where a stake (kili) was loosened, leading to the name "Dhilli."

The Poet's Encounter with Sahu Alhan and Sahu Nattal:

Upon arriving in Dhilli, Vibudh Shridhar met Sahu Alhan, a minister of King Anangapal.
Alhan, impressed by the poet's "Chandraprahachariu," urged him to meet Sahu Nattal, a renowned patron of literature and a leading merchant.
The poet, being shy, expressed reluctance to meet due to potential envy from others. However, Alhan's persistent persuasion led him to meet Nattal.
Nattal was delighted to meet the poet and offered him a seat and betel leaf. Both felt a sense of spiritual connection, attributing their meeting to good deeds in past lives.
When asked about his purpose, Shridhar conveyed Alhan's request for Nattal to commission the writing and consecration of a "Parshvanathacharit" in addition to his existing act of building an Adhinath temple and unfurling its flag. Shridhar also suggested installing a statue of a deity in the temple in his father's name. Nattal readily agreed.

Contribution to Dispelling Historical Misconceptions:

The article corrects a misconception that Nattal Sahu built a Parshvanath temple in Delhi. It asserts that Nattal built an Adhinath temple, as clearly stated in the "Pasnahachariu's" initial inscription.
It also clarifies that Sah Nattal was Alhan Sahu's close friend, not his son, countering claims based on misinterpretations of the text. Nattal was a prominent merchant, patron of arts, generous, and a skilled politician, renowned across various regions of India.

Content and Structure of "Pasnahachariu":

The "Pasnahachariu" consists of 12 sandhis (chapters) and 247 kadwaks (stanzas), estimated to be 2500 granthas (units of measure).
The article provides a breakdown of the narrative:
- Sandhi 1: The descent of Kanakprabhadeva from Vaijayanta Vimana into the womb of Vama Devi.
- Sandhi 2: The birth and childhood of Parshvanatha in the kingdom of King Hayasena.
- Sandhi 3: The arrival of a Yavana (Musalman) ambassador at Hayasena's court and their praise of the Yavana king.
- Sandhi 4: Prince Parshva's battle with the Yavana king, praised by his maternal uncle Ravikirti.
- Sandhi 5: Ravikirti's proposal for Parshva to marry his daughter. Parshva's encounter with a snake and a female snake in the forest, and his renunciation.
- Sandhi 6: Hayasena's grief; description of Parshva's intense penance.
- Sandhi 7: Parshva's penance and the severe afflictions caused by Kamatha.
- Sandhi 8, 9: Attainment of Kevala Jnana (omniscience), establishment of the Samavasarana, and sermon.
- Sandhi 10: Ravikirti's initiation.
- Sandhi 11: Religious discourse.
- Sandhi 12: Parshva's previous lives and Hayasena's initiation. Final benediction.

Glimpses of Contemporary Political Events:

As a mythological epic, "Pasnahachariu" contains supernatural elements. However, the author argues that the battles described, such as Prince Parshva fighting the Yavana king or Trivrishta fighting Hayagriva, are not purely imaginary but reflect the author's direct or reported experiences of battles between Hindus and Muslims or among Hindu kings.
The weapons described – khurpa, kripan, sword, bow and arrow – were contemporary and in common use.
The poet's description of devastating wars, leading to the suffering of widows and orphans, reflects the impact of the invasions of Muhammad Ghori and the internal conflicts among Hindu rulers.
The article suggests that the poem might be an eyewitness account of the defeat of King Hammir by Anangapal.

Psychological Descriptions and Novel Similes:

Vibudh Shridhar is praised for his vivid and psychologically insightful descriptions of various characters, including soldiers, monkeys, lovers, ascetics, chieftains, and common people.
The author highlights his skill in portraying emotions through language and the use of various rasas (aesthetic moods) and alankaras (figures of speech).
The description of monkeys in a forest is noted as particularly naturalistic.
The poem's descriptions of seasons, forests, evening, night, and hermitages are also lauded.
The evening is described as a time of both joy and sorrow, a blessing for lovers, thieves, owls, and demons, but a cause of despair for lotuses.
The setting sun's rays are metaphorically described as a vermilion tilak on the forehead of darkness.

Influence on Later Poets:

Vibudh Shridhar's descriptions of childhood activities influenced Surdas, the renowned Hindi devotional poet. The article points out similarities in their depictions of Krishna's childhood.
The poet's descriptions of the plant kingdom likely influenced Jaisi, the Sufi poet, particularly in his work "Padmavat." The article draws parallels between their descriptions of flora.

Contemporary Secular Education System:

The education provided to Prince Parshva in the "Pasnahachariu" reflects the secular education prevalent for princes and nobles of the era.
The article categorizes these teachings into four areas:
1. Arts of Self-Development and Embellishment of Life (Literature): Including Vedic studies, Puranas, ethics, grammar, epistemology, scripts, painting, gemology, poetry, vernacular languages, aesthetics, prosody, rhetoric, philosophy, and logic.
2. Arts Necessary for National Security (Military Arts): Elephant and horse management, archery, formation tactics, sword and spearmanship, wrestling, martial arts, siege warfare, battlefield combat, fire and water control, gem cutting, and animal husbandry.
3. Practical Arts: Cosmetics, beautification of men and women, massage, temple painting, hypnotism, operating various bells, gem polishing, gold thread making, agriculture, commerce, medicine, toxicology, advanced culinary arts, and the art of love.
4. Music and Instrumental Arts (Fine Arts): Knowledge of various musical instruments like mandal, tivila, tal, kansal, bhama, bheri, jhallari, katal, karad, kambu, damaru, dakka, hudukka, and tattarika.
The article emphasizes that these are not supernatural arts but reflect the practical and comprehensive education required for a responsible medieval ruler for social development. It notes that Prince Parshva, despite being Jain, is depicted as a student of the Vedas and Puranas, accommodating the diverse religious populace of his kingdom. The musical instruments mentioned are also of local origin.

Rich Geographical Material:

Vibudh Shridhar's work is rich in geographical information, describing cities, countries, rivers, mountains, lakes, flora, various human groups, their trades, political divisions of India, and famous products and trade.
The article mentions that 26 kings from various regions presented themselves before Prince Parshva upon his investiture as Yuvaraj of Kashi. These regions are categorized as East India, North India, West India, South India, and Central India.
It also lists gifts presented to Prince Parshva by rulers of various kingdoms when he set out to fight the Yavana king, indicating specific crafts and products from those regions.
The author suggests a connection between these regions and the patrons of Sah Nattal, indicating potential trade relationships. These mentions are considered valuable for understanding the economic, artistic, and social aspects of medieval India.
The article notes the alliances formed by various Indian kingdoms to fight against Yavana invasions, possibly under King Anangapal III of the Tomar dynasty, as depicted through the conflict between Parshva and the Yavana king. This aspect warrants further research.
The work also provides descriptions of places like Haryana, Delhi, Kushasthala, Kalindi, Varanasi, and Magadha, along with smaller geographical units.
The author praises the authentic depiction of contemporary Delhi, highlighting the poet's extensive knowledge of medieval India's economic, commercial, natural, human, and political geography.

Combination of Rasas:

The primary rasa (aesthetic mood) of "Pasnahachariu" is Shanta (peace), but Shringar (romance), Veer (heroism), and Raudra (anger) are also well-developed.
The article points to descriptions of battles and valor for Veer Rasa.
The king's angry reprimand of Kamatha illustrates Raudra Rasa.
The sorrow of separation during Parshva's renunciation exemplifies Karuna Rasa (pathos), while his subsequent renunciation and peace exhibit Shanta Rasa.
Shringar Rasa is present in the descriptions of cities, forests, mountains, and the beauty of people, but it serves to enhance detachment rather than passion.

Contemporary Vernacular Vocabulary:

"Pasnahachariu" is a mature Apabhramsha work, but it incorporates contemporary colloquial words that are similar to modern dialects. Some words are still in use today, adding vitality and dynamism to the poetry.
Examples of such words are provided, with their contemporary equivalents. The article notes that many of these words are still used in Haryanvi, Rajasthani, Bundeli, and Bagheli dialects.
The poet's use of Sanskrit in his final benediction further confirms his mastery of both languages.

In conclusion, the article presents Vibudh Shridhar's "Pasnahachariu" as a significant and multifaceted work of Apabhramsha literature, offering valuable insights into the literature, history, geography, education, and cultural practices of medieval India.