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Nirvanakalika (Nirvāṇakalikā)

निर्वाणकलिका

The Bud of Liberation

Śvetāmbara manual of image consecration, initiation and worship with Tantric elements, ascribed to Pādalipta.

Language
Sanskrit
Date
900–1100 CE
Author
Pādalipta
Extent
138 passages, 21,167 words
Text
complete digital text
Source
jainqq · Nirvankalika, by Mohanlal Bhagwandas Jhaveri, Nathmalji Kaniyalalji Mumbai 1926 (Jain eLibrary no. 600004) · Jain eLibrary (jainelibrary.org / Jain Quantum, jainqq.org): scanned books and their extracted text are…

Contents

Text

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|| arham ||
muni - śrīmohanalālajī - jaina - granthamālā ( 5 ) suprasiddhavidyādharavaṃśa bhūṣaṇamaṇi - śrīmatpādalitācāryakṛtā nirvāṇakalikā |
saṃśodhakaḥ - mohanalāla bhagavānadāsa jhaverī bī. e. (ऑnarsa) elel. bī., solisiṭara, jainaśilpajyotiṣavidyāmahodadhi - pūjyapāda - jainācārya - śrīmajjayasūrīṇāṃsadupadeśena - śahāpura - upadhānatapojñāna dravyasāhāyyena indoravāstavya - śeṭha nathamalajī kanaiyālāla rāṃkā ityanena,
mohamayyāṃ nirṇayasāgaramudraṇayatre kolamāṭavīthyāṃ 26 - 28 tame gṛhe rāmacandra yesu śeḍagedvārā mudrayitvā prakāśitā |
[ prathamasaṃskaraṇe
vīrasaṃvat 2452,
pratayaḥ 1000 ]
vikramasaṃvat 1982, isavīsana 1926. paṇyaṃ sārdharūpyakaḥ |

p3

Printed by Ramohandra Yesu Shedge, at the "Nirnaya-sagar" Press, 26-28, Kolbhat Lane, Bombay. Published by Seth Nathamalji Kanayyalalji Ranka, upstairs of Mumbadevi post office third floor, Bombay.

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chapāyelā grantho. 1 pārśvanāthacaritram hemahaṃsagaṇikṛtam (saṃskṛta ) 2 sahisayapayaraṇaṃ nemicandra bhaṇḍārikṛtaṃ 3 śṛṅgāravairāgyataraṅgiṇī munisundarasūrikṛta (gujarātī anuvāda ) 4 ādināthacaritra parva pahila śrīhemacandrācāryakṛta ( hindī anuvāda ) have pachī chapāvānā grantho1 jainaprāsādamārtaṇḍa - śrīmān - jainācārya śrījayasūrīśvarajīkṛta.
2 nirvāṇakalikābhāṣāntara (sacitra) rā. rā. mohanalāla bhagavānadāsa jhaverī.
bī. e. (ऑnarsa) elaela. bī., solisiṭara muṃbaī.
3 ajitanātha caritra hemacandrācāryakṛta ( hindī anuvāda ).
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mūlyaṃ || āṇā. mūlyaṃ | āṇā. mūlyaṃ • āṇā. mūlyaṃ 4 rū.
4 mohanābhyudaya campūmahākāvyam, śrīmān - jainācārya - śrījayasūrīśvarajīśiṣya pratāpamunijīkṛta.
5 hastasaṃjīvanī ( sāmudrika ) jainācāryakṛta.
malavānuṃ ṭhekāṇuṃ - śeṭha nathamalajī kanaiyālālajī rāṃkā, ṭhe0 muṃbādevī poṣṭanī upara trījedādara, muṃbaī.

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ni. ka. 1
Jain Education Intern
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śrī vighnaughasaṃchedine namaḥ |
bhūmikā.
-5000
ke ke na kālamāhātmyavido vidvāṃsa iti vidanti yatkālo'yamupacayāpacayayorbhāvānāṃ vidhāyakatayā kathyate suṣamasuṣamādirūpaḥ kṛtādirūpo vā | tatrāyaṃ prativicāro yat kālasya tadviśeṣasya vā vastujātasādhāraṇakāraṇatvena saṃgatasya saṃparkādāvirbhavati bhāvānāmupacayo'pacayo vota bhāvānāmupacayāpacayābhyāmāropitaṃ bhavati kāle suṣamasuṣamādivaiśiṣṭyam | arthāt kālaḥ svabhāvādeva tathāvidhatathā| vidhadharmaparādhīno balādiva bhāvānāmupacayāpacayayoḥ prayojako bhavatyuta bhāvā evāvaśyaṃbhāvitādṛśatādṛśopacayāpacayatatkāraṇabhūtadharmaviśeṣaparādhīnāḥ kālasya tathāvidhatathāvidhābhilāpe prayojakā bhavantīti ( evaṃ kṣetrasyāpi prayojakatohyā) dravyakṣetrakālabhāvādipadārthāntarāpekṣābalena syādvādibhirvidvadbhissamarthito'pi tādṛśastādṛśo bhāvaprakarṣāpakarṣānyatararūpaḥ paryāyāparaparyāyo bhāvavikāro nopakaroti kālatāratamyasyetthaṃbhāvena nirūpaṇe | evaṃ prāpte visaṃvāde kecanocchṛṅkhalā navīnāḥ kālastu paramamahattvādekatvādākāśādivannirlepastatra tatra pratīyamāno dharmaviśeṣaḥ kalyādirūpo duḥṣamaduḥṣamādirūpo vā vyavahārasādhāraṇo bhāktaḥ | bhāvānāmupacayabāhulye bhavati vyavahāro'nukūlo'yaṃ | kāla iti | tathaiva bhāvānāmapacayabāhulye pratikūlo'yaṃ kāla iti bhavati vyavahāraḥ ( evaṃ digādigato'pyanukūlatvānanukūlatvavyavahāro ( bhāktaḥ ) | asminneva ca samaye saṃgatā bhavanti lokoktayo rājā kālasya kāraṇamityādayaḥ | nirupādhistu kālaḥ kalpāyuṣāpi na śakyo

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nirvāṇa- nirūpayitumupādhīnāmasadbhāve nirūpaṇāsaṃbhavānnirūpakanirūpyanirūpaṇādīnāmapyupādhyananyatvāt | saṃpradāyaparavaśaparāmarśapakṣapātinastu bhūmikā. kalikā-6 naikāntato manyante kālakuharaikaśaraṇāṃstāṃstāna dharmān bhāktān | āyuṣo'lpatvakṛte na kopi yatate tathāpi dṛśyate tasya hāsassama
daurbalyena | na kasyāpi saṃmatā'nupasthitissāttvikaviduṣāṃ parantvāyāti sā saṃmukhe vāryamāṇāpi prāyeṇa "kālaṃ hi pauruṣaṃ cāhuḥ puruṣasya ||1||
mahātmanaḥ | ke na kālena bhakṣitāḥ | anye kṛtayuge dharmāḥ|” ityādilokoktayo'pyasminneva kalpe samucitatayā saṃgatā bhavanti | ṛjuṛjuvakra-vakrāṇāṃ prabhūtatāpi tattatkālaparavaśaiva sammatā sahṛdayānām | asminneva kalpe kālasya samucitā saṃbhavatyupayogitāpi | prathama-18|
kalpapakṣapātibhirapi vastujātasādhāraṇakāraṇatvena sammatasya kālasyeti vadadbhiḥ parokṣarūpatasvīkṛtaiva vastujātasādhāraṇakāraṇarūpā paramāti8|mahatyupayogitā kālasya | upādhīnāṃ sadbhāve sopādhikatve'pi tasya tasya bhāvasya tadīyanirupādhikasvarūpapratyaye svatanadharmasādarasvīkāre'pi haina ko'pi bādho na vā pratyūhabhayam | sopādhike kākavati gṛhe'pi bhavati nirupādhikaṃ gṛhamiti gṛhamātraviṣayako vyavahāraḥ | svīkriyante ||
cāvārakatvādayo dharmāśca | sati tātparye nirūpakādīnāmupādhitve'pi na tena tena vihanyate kālasya svātantryam | ataeva sthūlaśarīrāvacchedenai5 vātmano vyavahāraprayojakatve tavacchedenaiva tasya tadviṣayakabodhaviṣayatve vā samādriyamāṇe'pi nāpalapyate tasyānantajñānadarśanacāritrya
sāmarthya navopekṣyante tasya tāstā ūrdhvagatyādayaśśaktayo'ntarā sthūlaśarīram | naca cārvākamantarā kasyāpi dārśanikasya dṛśyate vivādaḥ sthūla śarīrānavacchedenāpyātmano'stitvasvīkāre |
samaṣṭijīvanakṣaṇasamudāyasya tāratamyaprayojakatāyāṃ kālasāmānyaniṣṭhatayā siddhāyāmapi kālasya yogapadyena kasyacidyuktvaprayojakatā da kasyacivṛddhatvaprayojakatāpi na bhavati viruddhā nijanijādṛṣṭabalalabdhatattatphalānukūlatattatparimitakṣaṇarāśerapi vyaktigatayuvatvādikāraṇatvāt||
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dṛśyate hi vasantavāyau samaṣṭisāpekṣī hitāvaha iti vyavahāro vyaṣṭisāpekṣaśca vyaktiviśeṣe hitāvahavirahavyavahāro'pi | samaṣṭijīvanatāratamye hi bālavivāhāthai hi kasarvānubhavasiddhasāmagryā sidhyati nātiprayojanā mahākāle dharmaviśeṣakalpaneti tu bālollāpa eva | jīvanakṣaṇatāratamyasya saṃsthānatāratamyasya sāmarthyatāratamyasya ca nṛpaśusthāvarādiniṣṭasya tatra tatra kāle viśiṣṭasyaivopalabdhatayā yuktāyāḥ | viśiṣṭakālakalpanāyāssarvathā sārthakatvāt | vyaṣṭijīvana kālānukūlatāratamyaṃ prati bālavivāhāde:- bālabrahmacaryabhaṅgādeḥ kāraṇatvepi tasya | viśiṣṭakālakalpanāyā abādhakatvāt | kṣaṇādivyavahāraḥ kāle kalpita iti dravyakṣetrakālāderapi dravyakṣetrakālādisāpekṣameva nirūpaṇamiti | cānyat prasaṅgāprasaktaṃ ca | evaṃ sidhyati viśiṣṭasya kālasya bhāvotkarṣāpakarṣaprayojakatve kālaviśeṣe caturvidhasaṃghe tadaṅgabhūtasya kasyacidekasyaiva | sādhorekasyaiva ca kasyacicchrāvakasya tathāvidhāyāḥ kasyāścidekasyā eva sādhyā ekasyā eva ca kasyāścicchrāvikāyāścāstitvamavaśiṣṭaṃ sthāsyatītyādaya āgamā api susaṃgatāssanto bhavanti hṛdayaṅgamāstarkakarkaśasvāntānāmapi |
jaināgame hi vaidikādyāgama ivāsan nānāvidhāstattadviṣayaparipoṣaka stantrādyāgamāsta ttatpūrvāntargatā adyāvadhi gīyamānakīrtayastatpravartakāśca te |ta ācāryavarāḥ | adyāpi ca śrutipathamāyānti śrībhadrabāhu - vajrasvāmyāryarakṣitāryakhapuṭapādalipta haribhadrasūriprabhṛtiprācīnaprācīnataragaṇyamānyā gamastambhībhūta kalpakīrti vidvatsammatāḥ siddhaprābhṛtayoniprābhṛtavidyāprābhṛtādayo nibandhāḥ | prābhṛtaśabdārthastu pra-prakarṣeṇa ā - samantāt | mriyate prāṇyate cittamaneneti pūrvasurisamudāyasammataḥ upāsakotsāhavardhanadvārā śāsanaprabhāvapracārakastattatsūrisamudāya satkṛto'nādikālapraca|lita caturdaśa pūrvāgamasārarūpa āgamaviśeṣaḥ | prābhṛtāgama itiyāvat | evaṃ nimittavidyāśilpavidyācikitsāvidyāprabhṛtayo nānāvidhā vidyāstatpra| tipādakā āgamā āgamavidaśca divyadṛṣṭaya āsan | kāśmīrakeralagauḍādibhedena prasiddhānāṃ mahāsarasvatī -mahākālī mahālakṣmīprabhṛtimātṝṇāṃ

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bhūmikā.
nirvāṇa- rohiṇyādividyādevīnā-cakreśvarī-mahāmbikā-padmāvatī-siddheśvarīprabhṛtiśāsanadevatānāṃ cārādhanaprakārabodhakānāṃ varṇabhedenāpi tattadvarṇamānyānāṃ kalikā.87 (brāhmaṇeṣu viśeṣatayā mahāsarasvatī, kṣatriyeṣu mahākālī, vaiśyeṣu mahālakṣmīḥ, śūdreṣu mātaṅgī, svasvasvabhāvānukūlavidhinopāsanāyāmadhikā 8
gaṇyate | sāmānyatayā tu sarvatra sarvāḥ| kāmyopāsanāyāṃ tatra tatra kāmanāyāṃ sarvāsāṃ mātṛṇāṃ vaiśiṣṭyam ) tatrāgamānāmapi bāhulyamāsīdevātra ||2||
saritsvāmisthānīye jaināgame | (jainajanatāyāstatramārgastu kāśmīra iti pratīyate | yato hi tatra tatre śrīmadarhataḥ śivarūpasya jñānaśaktirūpāyāḥ mahāsarasvatīdevatāyāḥ prādhānyam | sakalajainācāryahṛdvartinaḥ sūrimantrasya pañcamahāpīṭhānāṃ madhye prathamamahāpīṭhādhidevatā ceyameva devatā | śrīhemacandrācāryādibhirasminpīṭhe'syāḥ kāśmīravāsinthā eva kṛtopāsanā sarasvatīsahasranāni jainamārgaprabodhinītyanyatamaṃ nāmāpi sarasvatyā dṛśyate | eteṣāmapi ratnānāmalabhyatve durlabhatve vā prokto viśiṣṭaḥ kāla eva kāraṇam | adhikāriṇāmabhāve sarvajñakalpānāmādaraṇīyānāmapi teṣāṃ teṣāmāgamānāṃ kṣullakātikṣullakakartṛkanindāyāmapi hetussa kāla eva | kālasyaiva māhātmyametat tasyaivāyaṃ vilāso yadhunā | kimapi svalpamapi jānāti so'pi hasati sampradāyasarvasvāna kriyāniṣṇātām̐stām̐stāṃstātrikān sūrisattamān bhūtapūrvān | deśāntarasaṃskārasya prabhūtatayā svasaṃskārasya sutarāṃ vismṛtatayā pūrvācāryaparihāsaparāyaṇo na cintayati teṣāṃ sāmarthyam | paśyati ca pāṭhitānāmapi tattatkarṣakatattadviṣayakanibandhānāṃ tātparyāvagame svasyāsāmarthya tathāpi na manyate svasyāsadbhūtaviṣayāvagāhibodhapahilatā, nāvamanyate ca prajādhaḥpātavidhāyaka prakīryamāṇamātmanaḥ kutarkamityatra kiṃ vaktavyamanyatkāraṇamṛte kālāt| kiṃ bahu mo'nupādeyasyopādāne'nupādāne copādeyasya hetuḥ kāla eva |
adhikāribhedena pravṛttī pravartake tadupāye ca siddhe'pi bhede tatkṛte'pekṣite'pi tattadviṣayapradhāne tatra tatra śāstre, paramārthataścānte tattacchāstrasyāpi 1. muktāveva tātparya niścaye nedaṃ śāstramāhatānāṃ sammataṃ naitasya pracārakṛte jainairvidheyo yatna ityādi karṇakaṭupralāpe'pi kāla eva kāraṇam |
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bhūmikā.
nirvāṇa
caturthamasya prakaraṇaṃ bhūparīkṣānāmakamasti | asmin prakaraṇe bhūmiḥ śuklā ājyagandhā madhurā brāhmaṇasya, raktā...kṣatriyasya, pītā.... kalikā.
hai vaiśyasya, kṛṣṇā śūdrasyeti likhatā granthakārasūriṇā jainadharme varṇadharmasya nāṃśato'pyavahelanamityādi jñāpitam | bhūparīkṣāvidhānaṃtu sarveṣāṃ |
bhāratīyānāṃ samānameveti na tatra kintukaraṇāvasaraḥ | yajamānaśarīrāvayavakaṇḍūyanena śṛgālādipraveśena vā nimittena bhāviphalānumāna manyamānena munimahodayena nimittaśāstraṃ sarveṣāṃ mānanīyatayā samānamiti svīkṛtam | etadapi sūkṣmekṣikākaṭākṣeṇekṣaṇīyaṃ nimittopekṣā|parāyaṇaiḥ svācchandyapāṭhapaṇḍitaiḥ | śilānyāsavidhināmakaṃ pañcamapādapratiṣṭhānāyakamasya prakaraṇaṃ tatrāpi brahmarudramahendrādīnāṃ devānāṃ skandapūtanāprabhṛtīnāṃ rākṣasādīnāmapi pūjanaṃ vihitaṃ tadapi tatrāntarasamānameva | anyadapi pratiṣṭhāvidhināma prakaraṇaṃ ṣaṣṭhaṃ vidyate | etasyāntarāle dvārapratiṣṭhāvidhi-bimbapratiṣṭhāvidhi-hṛtpratiṣṭhāvidhi-cūlikākalaśadhvajādipratiṣṭhāvidhināmāsti prakaraṇakadambakam | saptamaṃ jīrṇoddhāravidhiprakaraṇamasti | etatprakaraṇayorapi viṣaye tātrikadīkṣādau manye bhrāmyedādhuniko bhramapūrṇo bhadrabuddhiḥ | adīkṣitān na śrāvayet na tena lekhayet ajñānaṃ na dīkṣayet | atra dīkṣāyāstatrasiddhāyā eva grahaṇam | sarvatobhadramaṇḍalādīnāṃ tātrikasammatānāmevātrāpi svīkāraḥ| putrādikāmanākṛte'pi vihito'bhiṣekaḥ kāmyaḥ | deśiko gururapi tātrika evābhimatastadetepyudvegakarā iva bhaviṣyanti saṃpradāyarahasyāvabodha | udāsīnānām | sakāmenākāmena jñānavatā tadabhāvavatā svasthenāsvasthena kṛtānāṃ pāpānāṃ prāyaścittasya tāratamyaṃ mananīyam itaradarśanasādhāraṇaṃ ca | aṣṭamūrti nirdeśo'pi vyavasthāpayati samānatāṃ vaidikāgamavyavahāreṇāsyāgamasya vyavahāre | tatra tatra bhāsamāno nātinyūnādhikassāṃkhya yogayossiddhāntopi pramāṇayati prācīnāryāṇāṃ vyavahārasāmyam | nityakarmaprakāro gṛhadevatābaliprakāraścāsya sāmya eva sammatau | sarveṣāmapi sāmyadarśakapramāṇānāṃ prabalaṃ pramāṇamidaṃ yadatrāpi dṛśyate carcā abhicārasya | dveṣasyotkaṭatve kalahe ca svasyaiva dvayorvā vināśaśaṅkāyāṃ
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śatrusaṃhārakṛte vihito darśanāntare abhicāraḥ | ayaṃ hi vidhāya karmaṇi śyenāhiṃsāyāssattvāt phale'pi śatruhiṃsāyāssattvāt abhyudayaphalasya hiṃsāsādhyasya karmaṇassahyatve'pi pāpaprayojakaphalasya hiṃsāsādhyasya karmaṇo'sahyatvānniṣiddhaśca |
jīrṇoddhāravidhiprakaraṇānantaraṃ mudrāvidhināmakaṃ prakaraṇamasti | atra nārācādīnāṃ vinyasanamudrāṇāṃ mahāmudrādīnāmāvāhanādimudrāṇāṃ | govṛṣātrāsanyonètrāstrayoḥ pūjāmudrayoḥ pāśādīnāṃ jayādidevatāpūjāmudrāṇāṃ śaṅkhādīnāṃ ṣoḍaśavidyādevīmudrāṇāṃ daṇḍādisahitānāmāsāṃ dikpālamudrāṇāmanyāsāṃ ca parameṣṭhiprabhṛtīnāṃ mudrāṇāṃ nirmāṇaprakāro darśitaḥ | mudrādarśanaṃ bālalīlevāḍambaramātraphalakamiti vadatāṃ saṃśayā-| panodāyedaṃ prakaraṇaṃ paryāptamapi mudrāśikṣaṇakarmaṇi mahopayogi | atra paraṃ prāyaścittavidhiprakaraṇamasti | etacca sarvairāstikairabhyastavyam || ataḥparamahaṃdādīnāṃ varṇādikramavidhistataḥ paraṃ vidyādevīnāṃ ṣoḍaśakaṃ dikpāladaśakaṃ tataḥ paraṃ grahanavakaṃ tataḥ paraṃ praśasyā granthasamāptiḥ | | asyācāryasya pāṇḍityaṃ lokottaraṃ varṇitaṃ dṛśyate tadvagamaśca kathāvalyāṃ prabhāvakacarite ca carcitādasya caritrādvidhātavyaḥ| asya granthasya |
lekhaśailī cāpi sūcayati saṃskṛtaprākṛtabhāṣayorādhipatyamasya sūreḥ| nirmālyaṃ devasvadevadravyanaivedyaniveditanirmālyabhedena pañcadhā| tatra devasvaṃ devakṛte 4 6 dattaṃ grāmādi devadravyaṃ devakṛte kṛtamalaṅkārādi naivedyaṃ devasannidhau samāptaṃ tatkṛte kalpitaṃ modakādi niveditaṃ prasāditotsṛṣṭaṃ tadeva nirmālyaṃ |
devadeśādapasāritaṃ tadevetyādigranthena tattadvastubhedopabhedabodhakenāsya sūressaṃpradāyabodhamahodadhitvaṃ suvyaktameva | lokottarapaṇḍitasyāpyasya vainayikī buddhirapi lokottaravāsīt tasyā varṇanaṃ cāvaśyakaṭīkāyāṃ kṛtaṃ dṛśyate | vinayo hi vaiduṣyaparīkṣakaḥ sthitaśca vidūre vinayasya ṭū vidvānapi na vastuto vidvān iti viduṣāṃ siddhāntaṃ kathamavamanyetedṛśo vidvān granthakāraḥ | jīrṇoddhārakāraṇaṃ parigaṇayatā pādaliptācāryeṇa hai
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bhūmikā.
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NAGARIGANGANA
sūriṇā piśācādyadhiṣṭhānabhūtasyāpi vimbasya punaruddhāro vihita ityapi alpajñaiḥ piśācādīnāṃ carcā na gaṇyamānyaprājñasaṃmateti kathayadbhi-8 vicāraṇīyam | asmin nibandhakāre nivasatāṃ guṇānāṃ gaṇanāyāṃ tu nāhaṃ pravṛtto na vā sa mama sādhyastathāpīti tūcyate yat sūriṇā
prasaṅgamutthāpya matāntaracarcāpi nāhatā kā kathā nindāyāḥ etasyaiva nāma pāṇḍityam | da etatsūrivaryakṛtāstaraṅgavatīkathāpraśnaprakāśaśatrujayakalpanāmāno'pi nibandhā ākarṇyante | prākṛtabhāṣānibaddhāyāstaraṅgavatīkathāyā
saṃkṣepaḥ kṛto nemicandrasūriṇā sūriprakāṇḍena | śatrujayakalpastu śrībhadrabāhukhāmikṛtasya śrīvatrasvāminoddhṛtasya saṃkṣeparūpaḥ | asmādeva sāramuddhṛtya saṃkṣepeṇa praṇītaḥ śatrujayakalpaḥ śrījinaprabhasūriṇā | kalpaḥ prābhṛtataḥ pūrva kṛtaḥ śrībhadrabāhunā | śrīvatreṇa tataḥ pādaliptācā-31 yastataḥ param | itopyuddhatya saṃkṣepātpraṇīta: kāmitapradaḥ | śrīśatrujayakalpo'yaṃ śrījinaprabhasūribhiriti pramāṇamatrārthe | granthakṛtā tathā cāgama iti kṛtvā pramāṇarūpatayodāhṛtāstāstā gāthāḥ pūrvāgamānām | ____etasya pādaliptasūrīśvarasyetivṛttaṃ prabhāvakacarite pādaliptaprabandhe varṇitamasti tata evaitajijñāsubhirdraṣṭavyam| kośalāyāṃ puri phullapratimābhyāṃ mahāmunerasya janma kṛpātaḥ śāsanadevatāyāḥ śrīpārśvanāthāyatanāyatanāyā āśīrvādataścāryanāgahastisūrīṇām | garbhādaṣṭame varṣe vidyārambho ? varṣeṇaiva cādhyayanaṃ sarvavidyānāṃ vaidagdhyātiśayamahimavaśāt | tāsu tāsu rājasabhāsu taistaiḥ paṇḍitaprakāṇḍaissaha śāstrārtho vijayaśca varṇito vistareṇa | janmasamayastveṣāṃ bahūhāpohapurassaramājabhāṣābhūmikāyāṃ vī. e. (ऑnarsa), elūel. bī. solīsīṭarādyupādhidhāriṇā śrībhagavān-8
||4|| dāsajītanayena paṇḍita śrāvakaśrī mohanalālajīyanena likhitāyāṃ sunirūpito vartate saca vikramasamvatsarasya tṛtīye varṣe pratibhāti
ramāpatimiśraḥ
BREAK
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yadyapi balavatā kālena kṛtasya bhāvāpakarṣasya pratividhāne na kasyāpi mahato'pi vidyate sāmarthyam kiṃ nāma pratividhānaṃ tadvegasthagane'pi na ko'pi samarthaḥ | tathāpi kālasyaivāyamapi saṃketo yatsarvātmanā na vastūcchedaṃ karoti bījarūpatayā śeṣatayā vā rakṣatyapi kālāntarabhāvyutkarṣabhāñji vastujātamūlāni | apakarṣo nāma na sarvātmanā nāśaḥ kintu viralatayā vidyamānatā | meghāpāye saṃhriyamāṇe'pi sūryakiraṇādidvārā jale labhyata evālpālpaṃ jalaṃ palvalādau | kṛṣīvalairyāvacchakti gṛhīte'pi kṣetrāne tatraivocchavṛttibhiryatravadbhirāsādyate kaṇiśādi | īdṛśe'pi duḥkhamaye samaye pariśramaśālibhiranveṣaṇapaṇḍitairāsāyanta eva kālakavalapatitāni tāni tāni grantharatnāni |
iyamapi nirvāṇakalikā tathāvidhamanyatamaṃ nibandharatnameva | etasyāḥ pustikāyā avalokanenaiva sarvaṃ viditaṃ bhaviṣyati viduṣāmiti bahūktiretadviṣaye pralāpa eva | asya nibandhasya nityakarmavidhināmake prathamaprakaraṇe mṛdādinā bāhyaśuddhiḥ anantaraṃ tattadbījādinā nyāsādiprakāraśca likhitau vidvadbhiravahitairavaśyamavalokanīyau | dvitīyasminnapi dīkṣāprakaraṇe muktikāmasya prāñjalaṃ, muktikāmasya tīkṣṇāgramityādi samayasaṃskāra saṃskṛtaḥ pūjāhomaśravaṇādhyayanādiṣu yogyassyājjainaṃ ca padaṃ labhata ityādi ca likhitaṃ tadapi ca karmaparāṅmukhaiśśuṣka vāgjñānibhirala sairavaśyaṃ saparāmarśe draṣṭavyam | asyācāryābhiṣekanāmakaṃ tṛtīyaṃ prakaraṇamasti tatrācāryasya yogyatā tadīyakartavyaṃ tadabhiṣekaprakāraśca yathāsaṃpradāyaṃ likhitāni santi | tadanu chatracāmara- hasti aśva śibikādīni rājāṅgāni yogapaṭṭaka khaṭikā - pustaka akṣasūtra- pādukādikaṃ va dadyāt iti rājājñeva likhitamasti tatra granthe rājacihnaṃ kuto vā kalpeta nirmanthānāmityādijalpadbhirutsūtra tarkadā sairdṛṣṭinikṣepo vidheyaḥ | yato hi kiṃ kasmai kalpeta kiṃ kasya vidheyaṃ kiṃvā kasya heyamityādiviṣaye na buddhisvātantryaṃ na vālpajñatarkapraveśaḥ | sarvathā buddhikhātacyaṃ hi nāstikatā | āgamaparādhīnameva | buddhisvātatryamāstikatā | tasva-dharma-jyotiṣa cikitsānirṇaye śāstranirapekṣabuddhisvātantrye pāpamapi smaryate iti nāviditaṃ paṇḍitānām |

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nirvāṇakalikāviṣayānukramaḥ |
AKISCCASSAMAKEDARSHAN
viṣayaḥ 1 maṅgalācaraṇam
granthamūlabhūtasya jināgamasyollekhaḥ 2 nityakarmavidhiḥ upāsakadehaśuddhiḥ dvārapūjā pūjāgṛhapraveśaḥ.... bhaumādivighnanirāsa: āsanapūjā pūjāgṛhasaṃrakṣaṇam dvividhaḥ karanyāsaḥ bhūtaśuddhiḥ mānikasnānam....
For mornaronorm or orn.
viṣayaḥ trividho'ṅganyāsaḥ ... siddhamātṛkānyāsarūpaṃ mantramayaṃkavacam pañcavidhaśuddhiḥ .... sthānaśuddhiḥ .... ātmābhiṣekaḥ .... ātmaśuddhiḥ .... dravyaśuddhiḥ .... matraśuddhiḥ .... devaśuddhiḥ .... sāmānyenajinapūjā gurupūjā .... caturmukhadivyasiṃhāsanapūjā ....
rrrrrrrrr mmm
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viṣayaḥ arhamūrti nyāsaḥ
siddhādimūrti nyāsaḥ
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jñānaśaktyā disahitārha mūrtinyāsaḥ
yantrapūjā gṛhadevatāpūjā balavidhānam
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vidyādehanyāsaḥ.... āvāhanādikaṃ mudrādarśanaṃ, devasnānādividhiḥ pañcaparameṣṭhiyaṃtrapūjā ārātrikaṃ maṅgala dīpaḥ nityanaimittikābhicārikabhedena trividho jāpaḥ
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śāntipāṭhena japapūjādinivedanam nirmanaskayaugikadhyānam
aṣṭamūrtipūjā
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4 ācāryābhiṣekaḥ maṇḍapavarṇanam vedikāvarṇanam aṣṭavidhakumbhavarṇanam aṣṭavidhaśaṅkhavarṇanam maṇḍapālaṅkāraḥ anuyogānujñānārthaṃ nandipāṭhaḥ ācāryābhiṣeke rājāṅgāni śibikādīni ..... yathākāmaṃ abhiṣekakarmakathanam toraṇaprakārasvarūpabhedopabhedavarṇanaṃ 5 bhūparīkṣā - bhūmiparigrahava śalyaśodhananavārṇacakram
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viṣayaḥ 6 śilānyāsavidhiḥ
vāstupūjanam .... 7 pratiṣṭhāvidhiḥ śilpīndrācāryaguṇavarṇanam .... adhivāsanāmaṇḍapaḥ snānamaṇḍapaḥ .... toraṇapatākādimaṇḍapālaṃkāravarṇanam 8 pādapratiṣṭhā prathamā .... pañcavidhaśilākumbhasnānādivarṇanam
navavidhaśilākumbhasnānādivarṇanam 9 dvārapratiṣṭhā dvitīyā .... 10 bimbapratiṣṭhā tṛtīyā ....
kārakasamūhaḥ .... kṣetraśuddhiḥ ātmarakṣā āgamagāthā bhūtabalimantraḥ ....
viṣayaḥ sakalīkaraṇam .... . digbandhamantraḥ bimbasnāna vidhiḥ nandāvartamaṇḍalanirūpaṇam āgamagāthā nandāvartamaṇḍalapūjāvidhiḥ .... adhivāsanavidyādvayam saubhāgyavidyā .... sahajaguṇasthāpanam adhivāsanāvidhiḥ āgamagāthāḥ .... jinabalinirūpaṇam āgamagāthāḥ nimrakṣaṇam
āgamagāthāḥ .... ārātrikaṃ-maṅgaladīpaḥ āgamagāthāḥ .... caityabandanādhivāsanādidevānāṃ kāyotsargaḥ āgamagāthā añjanaśalākāvidhiḥ āgamagāthā ....
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karmakṣayotpannaikādaśātiśayasthāpanam pratiṣṭhāmantreṇa pratiṣṭhāvidhiḥ surakṛtātiśayaprātihāryayakṣayakṣeśvaryāristhāpanam nimrakṣaṇārātrikapratiṣṭhādidevatā kāyotsargaḥ āgamagāthā: 24
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saṃghapūjā āgamagāthāḥ aṣṭāhikā vā tryahikāmahotsava : visarjanam varṣāntedīrghāyurgranthibandhanam .....
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pratiṣṭhāstutau āgamagāthāḥ ..... lepādikāca labimbapratiṣṭhāvidhiḥ samasta vaiyāvṛtyānāṃ adhivāsanāpratiṣṭhā saubhāgyamantraḥ sarasvatīmaṇibhadrabrahmaśāntyimbikāpratiṣṭhāmantrāḥ
11 hṛtpratiṣṭhā caturthī 12 cūlikāpratiṣṭhā
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17 prāyaścittavidhiḥ pañcavidhanirmālyakathane devadravyanirūpaṇam
18 arhadādīnāṃ varṇādikramaḥ tīrthaṃkarāṇāṃ janmarāśinakṣatravarṇanam yakṣayakṣiṇīsvarūpāyudhavarṇanam śrutadevatā- śāntidevatā - ṣoḍaśa vidyā - devīnāṃ svarūpāyudhādivarṇanam
19 daśadikpālasvarūpāyudhādivarṇanam
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NIRVANA-KALIKA.
INTRODUCTION.
The present work Nirvana-Kalika is a treatise by Padliptacharya or Palittasuri who fourished in the first century of the Vikrama era and is the oldest extant work dealing with ceremonials relating to Si the "Installation of Idols" and is also known as "Pratishtha-Paddhati" i. e. "Treatise on Installation".
CONTENTS.

OSOC-%-
It also deals with the Daily Worship and "Initiation of a person as a Jain" or Mantrika-Diksha & "Consecration as a Preceptor" or Acharyābhisheka. In connection with the Diksha-Vidhi and Acharyābhisheka are given descriptions of Sarvatobhadra-Mandala (Diagram having Bhadra-shape on all sides) & erection and decoration of Puja-Mandapa ( Tent for worship). In course of the Daily-Worship-Ceremonies is described the Nitya-Puja-Yantra (Diagram for Daily-Worship), which is the larger form of the Saint Wheel (Siddha-chakra).
The third part of the work deals with the "Installation-Ceremonies" and in course thereof describes the 8 "Nandavarta Mandala" (Diagram of auspicious turn being Seat of Tirthankaras). The five kinds of Pratistha viz.
(1) Pada-Pratishtha (Installation of Foundation ), (2) Dwara-Pratishtha, (Installation of Doors ), (3) BimbaPratishtha, (Installation of Idols ), (4) Hrit-Pratishtha, (Installation of Heart), (5) Chūlika-Pratishtha
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or Shanku-Pratishtha, (Installation of Top or Cone), are treated in this part. After dealing with the subject Introof selecting and taking possession of land in the chapter styled Bhūmi-Pariksha (Examination of Land), and duction? Bhumi-Parigraha (Taking possession of Land ), the Pada-Pratishtha or Foundation cereinony is described. It begins with Vastu-Puja, (Worship of Architectural Deity)-the section being entitled Shila Pratishtha Vidhi (Installation of Stone). In this connection the 64 Padika (Parts ) Vastu ceremony applicable to 1131 Temples is described. It also mentions 81 Padika (Parts) Vastu-Ceremony applicable to other buildings. The Dwara-Pratishtha is the ceremony connected with putting up the doors. The Pada-Pratishtha 18 Foundation Ceremony. The Bimba-Pratishtha is the Installation proper of the Idol. The Hrit-Pratishtha is somewhat novel and seems to have been rather forgotten. It relates to the Installation of the Central portion of the structure compared to Stambha-Pratishtha (Installation of Posts) in ordinary structures. Chülika-Pratishtha includes the installation of Chülika (Top), Kalasha (Jar), and Dhwaja Flag). In other structures, the final ceremony is Mobha-Pratishtha, (Installation of the Central beam in the roof). Then are described the 8 kinds of "Vedikas" (Square platforms or seats). The subject thereafter treated is the removal of old and substitution or reinstating of the idols. It is called the reinstallation or JirnoddharaVidhi. It may be of interest to note that Prayashchittavidhi, (Purifying Ceremony ) which is next taken up deals with five kinds of Nirmalya (Offerings ) viz. (1) Devasva (Land of God), (2) Devadravya | Ornaments and decorations of God), (3) Naivedya (Things meant for God), (1) Nivedita (Things! offerred to God )(5) Nirmalya (Removed offerings ). There is also a reference to Devadravya in
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Nityakarmavidhi (Daily Worship). In the recent controversy on the subject, between the late VijayaDharma-Suri and Sagarananda-Suri the occurence of the word Devadravya and its treatment here do not seem to have attracted the attention of the learned controversialists, as otherwise the controversy would not have proceeded much further, owing to the antiquity & authenticity of the Devadravya being sufficiently proved by the present work. The Chapter on Mudra-Vidhi deals with the disposition of fingers so as to form various suggestive diagrams to aid contemplation. It is of unique interest. The Mudras seem to have been described in a seprate chapter as they are mentioned in the other parts of the work in course of various rites and ceremonies. The last chapter describes the complexion, cognizance, birth-constellation, birth Zodical singn, and attendant Yaksha (Male-Deity), and Yakshini (Female Deity), Vidyadevis (Goddesses of Learning), Lokapalas (Protectors of worlds), Grahas (Planets), Yaksha-Brahmashanti and Kshetrapala (Warden of land). As regards the reference to Zodiacal signs we shall deal with the same in its histodical aspect below. This chapter on Mudras as also certain other portions of the work dealing with various ceremonies have great resemblance to Tantrika rites. The author uses the word "Deshika" in connection with Foundation Ceremony or Pada-Pratishtha as meaing the preceptor performing the ceremonies. This is a word ordinarily found used in that sense in Tantras. The Kularnava-Tantra Chapter 17 verse 14 derives it thus:de॒vatārūpadhāritvācchriṣyānugrahakāraṇāt | kuruṇāmayamūrtitvādeśikaḥ kathitaḥ priye || 14 || The reference to Ashtamurti (Eight-fold form) in the Daily Worship is significant as the word usually signifies Shiva.

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DAILY WORSHIP AND ITS NATURE.
Nirvanakalika.
Introduction.
Taking up the chapter on Daily-worship, it is of great interest to compare the same with (l passages on the subject in Agamas or Holy scriptures as also other works on the subject viz. "Puja-10
Prakarana" by Bhadrabahuswami "Shravakaprajnapti” by Umaswati Puja-Vidhi" and "Vidhi Prapa" by
Jinaprabhasuri, "Acharadinakara" by Vardhamanasuri and "Acharapradipa" and "Shraddha Vidhi" Dll by Ratnashekharasuri. It has althrough remained the same but for some slight variances. It also shows
the influence under which the Jains were at the time in their daily worship. It is that of Tantrika and Sankhya Yoga philosophy. There are five kinds of Shuddhis (Purificatory ceremonies) Dharanas (Concentrations) Dhyana (Meditation), Dig-bandhana (Fortification), Gurupuja (Worship of Preceptor), Vidyadehanyasa (Placing of mystic-syllabic body) aided by contemplation of Arhan with 12 ganas (Divisions) and with Jnanashakti (Prowess or Goddess of learning), Mudras (Suggestive diagrams of fingers), Mantras (Mystic syllables) Sakalikarana (Unifying Rite), "Mandalapuja" (Worship of Elemental Diagram), "Nyasas" ( Placing of Mystic-Syllables), "Manasika-Puja (Mental worship), as also Griha-Devata-Pujana (Worship of Homely
Deities and Balividhana (Rite of offerings to be performed). There is also a reference to Homa (Sacrifice ) Clat p. 7-1 ch. Dikshavidhi, of this work. The Sankhaya Yoga influence may be illustrated by reference at 2!p. 28-2 to use of Tattvas (Elementary Substances) as described by the Sankhyas. There are also the Kala
& Vidya of Tantrikas included. But there is a third and distinct current which mentions Raga, Chandra,
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Aditya, Rakta, Ashvis, Agni, Indra, Vishnu, Mitra and Brahma as Lords of various senses or functions. There is also given the ancient "Yantra-Puja" (Worship of Diagrammatic representation). As regards the Yoga influence the description of Nirmanaskavastha (Condition void of Thoughts ) is an instance. Pranayama (Breath-Control) is prescribed for Bhutashuddhi (Purification of Bodily Elements).
DIKSHA VIDHI AND ACHARYABHISHEKA.
(Initiation and Consecration)
ASESORASUSEGA
Diksha Vidhi (Initiation) or Mantra Diksha (Initiation with Mantras) is practically forgotten at the present time and even in later works it is to be found treated only in "AcharaDinakara". The Chapter on Acharyabhisheka (Consecration as Acharya) is of importance to show the qualifications which are thought necessary in the person receiving the dinigity and to show how he was 18 respected even by his preceptor on conferment of the Dignity. It not only deals with consecration of Acharya, but says that Abhisheka (Consecration) may be similarly performed for attaining various wordly objects e. g. regaining lost kingdom and having a son.
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Jain Education Internat
TANTRIKA INFLUECE.
This chapter as also the subsequent chapters on Installation ceremonies lend additional support to the inference that the present work bears many marks of Tantrika influence. Sir John Woodroffe the famous writer on Tantras has made it abundantly clear that Tantras do not necessarily mean rite with wine and women. Every great religion has had its distinct mode of meditation, path of realization, and the way of attaining final beatitude.
There will be exoteric as well as esoteric doctrines the theoretical as well as the practical portions of the religious philosophy. The Tantra as known has to do more with the practical method of realization rather than the theoretical. There are Shaiva, Shakta, Vaishnava, Ganapatya, Saura, Bhairava, and many other Tantras, still the general nature of realisation is same, they are therefore brought under a common denomination "Tantrika", although each has its distinct philosophy as well as deity. It is not surprising therefore that Jain methods of realisation i. e. the practical portion of it should greatly resemble what is known as Tantra-Marga. The most important doctrine of the Tantrikas for practical realisation is Shat-Chakravedha (passing through six centers or plexes of body.) by concentration. It cannot be said that the Jaina works do not adopt that method for realisation. "Yoga-Shastra" of Hemachandracharya and "Jnanarnava" of Shubhachandracharya describe the Pindastha (Bodily) as well as Padastha-Dhyana (Mantrika). The present work also prescribes Nirmanaska Dhyana. Wherever Mantras are used to

Introduction.

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.
aid meditation, wherever there are meditator, meditation, and object of meditation, the mode may be said to be Tantrika. There are many more Tantrika characteristics here and they have been already indicated. Tantra is primarily the Kriya Kanda or practical part complementing the Jnana Kanda or theoretical part. Every religion will no doubt harmonise its Kriya-Kanda to its theoretical portion or Philosophy. It has been so harmonised here. Another distinguishing feature of Tantra is that it may be classed as Adhi-Daivika-Vada as distinguished from and midway between Adhibhautika-Vada and Adhyatmika-Vada. Like other Shahstras, the Tantra Shastra also has attempted to include the other two Vadas to make it a complete whole, but the same remain subsidiary. The 3 Vadas, are three stages in the spiritual evolution of man, and none of them can be neglected.
The chapters on Dikshavidhi (Initiation) and Acharyabhisheka (Consecration as Acharyas) and the chapter on Shila Nyasa (Laying of stone ) describe the requisites of the two ceremonies viz. bunting, chowries, flags, mirrors, leaf-arches, bells, lotus-stems, and other decorations, the "Mandapa" (Tent), Vedikas (Raised seats ), the doors, the posts, the five coloured Mandala (Diagram), Kumbhas (Pots), Kalashas (Jars), Shankhas Conches), draperies, Yavarakas (Barley-shoots). They are all the same as may I be found in any Hindu work on ceremonials or Architecture.
The Sarvatobhadra-Mandala Vastu-Mandala and the Mandapa are described here as are described subsequently in other works on architecture, such as "Samarangana" by King Bhoja, "Raja-Vallabha", G “Vishva-Karma-Prakasha", and "Shilpa-Dipaka”.
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VASTU CEREMONY. (Worship of Architectural Deity)
Introduction
The Vastu-Ceremony was until recently commonly believed to be a ceremony adopted by the Jains because of their contact with the Hindus, as Jains usually adopted themselves to their surroundings and did not unduly give importance to matters-not strictly connected with their religion but wordly in their I nature to avoid straining of feelings between them and the general Hindu population. It may however be of importance to note that Vastu-Vidhi is similarly treated in the Upanga Jambu-Dwipa-Prajnapti. (P. 207-210 A gamodaya Samiti Edn.)
In the beginning of Pratishtha Vidhi are described the qualifications of Acharya (Preceptor), Indra I (Person performing ceremonies) and Shilpi (Architect) and are thereafter described all sorts of Installation-18
Ceremonies from the laying of the foundation to the implanting of the flag. These have already been dealt XI with. The minor ceremonies and other subjects may be seen by a glance at the table of Contents. The
chapters on Mudra Vidhi and Prayashchitta and Arhadvarnadikam have been also dealt with in the 8 foregoing part.
We may here briefly consider the mention of Zodiacal Signs. These are said to be of Greek origin # and supposed to have been introduced in India about the time of Varahamihra. This is because there was

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not found reference to them in any Indian work of earlier date. When the Greak influence is known to have !ll been great in the time of Chandra Gupta and when it is known that many things of Greek origin were then 1
introduced in India, it is quite probable that the mention of Zodiacal signs in this work instead of proving the work to be later in date proves that the Zodiacal signs were introduced earlier. This is so because the | date of the work is 1st century of Vikram era both from internal as well as external evidence. We have 8 already mentioned the ancient current of thought in this work. Metrically also the Gathas cited here lead
us to the same conclusion. Externally the author of the work will be shown to have flourished in the 1st century of Vikrama Era.
POINTS FOR ANTIQUARIANS.
OSRAGALOGAS SOLIG
The work is of great importance to the antiquarians as it supplies a link between the period of 18 the composition of the Jain holy scriptures and the date when they were systematically committed to writting. The work is written in Sanskrit in departure from the usual practice to write in the Ardhamagadhi language of Jain Religious works of the time. It reflects the spirit of the time when King Vikrama who started the Vikrama era was on the thorne. The pomp attached to Acharyaship is great. Royal insignias 18 such as elephant, horse, palanquin, chowries, umbrella, as well as Yogapattaka (diagram for worship) and

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Introduction.
HORRO
Khatika (Pen), books, Crystal-bead-rosary, and sandals are presented to Acharya on conferment of the diginity. Both Shakhas & Gachchha are mentioned. The reference in the Nitya-Karma-Vidhi to Ashta Murti (eightfold form, Shiva ) is important and shows that Jain worship was influnced by Tantrika Agamas where the chief deity is Shiva. There was a revival of Hindu learning and Sanskritists flocked together in large 18 numbers to the audience hall of King Vikrama. The learned Jains vied with the Hindu Pandits in the Sabha of Vikrama. The Jains also began to study Sanskrit in large numbers and commenced writing works in Sanskrit dealing with their religion. About the time the famous Umasyati, the learned author of Tattavartha Sutra also wrote his aphorisms in Sanskrit. At the same time the Prakrit language continued in full force and works began to be written in both the languages. Kundakundacharya of the Digambaran sect who is said to have flourished about 49 S. Y. about this time wrote his 8 famous Pahudas. (summaries or extracts from 14 Purvas, the lost Agamas, in Prakrit). This was the time when Pahuda Granthas were in vogue. Since the time of Bhadrabahu-Swami till about the middle of the second century, such kinds of works continued to be composed. They purport to be the preserved summaries on various subjects treated in Purvas which were fast becoming extinct by the time. It appears from the available Pahudas and the quotations of Gathas in the present work hereafter discussed, that it is not correct what the Western Scholars say that Purvas contained merely the disputations of Shri Mahavira with his contemporaries. The work goes to show that Purvas dealt with as great a variety of subjects as the existing Agamas. The Jain tradition is that Bhadrabahu-Swami was the last person who knew all the fourteen !
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Purvas, and he was the first to compose the Pahudas which were collections of relevant passages out of Purvas on select subjects. It may be noted here that the word Pahuda or "Prabhrita" is also used to signify chapter in certain Agamas e. g. Surya-prajnapti and others.
VAJRASWAMI AND PADLIPTACHARYA.
It appears that Vajraswami further classified the subjects in their various divisions and rearranged Pahudas with a view to have separate treatises on the various divisions of a general subject which was formerly treated as a whole by Bhadrabahu-swami. What the author of the present work Padlipta-suri is said to have done is to abridge the said treatises. This is the view of Jinaprabhasuri as expressed in "Vividha-Tirtha-Kalpa" otherwise known as "Kalpa-Pradipa". He also says that Vajraswami's pupil rearranged "Kalpa Prabhrita" and Padliptasuri abridged the same. This can be reconciled with conclusion arrived at in the portion hereof dealing with Padlipta's date by supposing him to be an elder contemporary of Vajra-Swami, complementing the work of the younger "Yuga-Pradhana" (Leader of the age) VajraSwami. This will appear to be certain, from the reference in the "Anuyogadwara" Mula-Sutra of Aryarakshitasuri as also from the discussion in the section dealing with Padlipta's date.

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THREE PERIODS OF JAINA LITERATURE AFTER AGAMAS.
Introduction,
The first is the Pahuda period beginning with Bhadrabahu Swami and extending over the middle l of the 2nd century A. D., when Dharasena composed the Yoni-prabhrita about 135 A. D. The names of some of the Pahudas or Prabhritas known from references in various works are "Siddha-Prabhrita", "Vidyaprabhrita", "Yoni-Prabhrita", "Nimitta-Prabhrita" (Kathavali ), "Pratishtha-Prabhrita", "KarmaPrabhrita" (Karma Grantha), "Vijnana Prabhrita", "Kalpa Prabhrita” (Vividha-Tirtha-Kalpa), "SwaraPrabhrita" (Commentary of Thānanga Sutra ), Natya-Vidhi Prabhrita" (Commentary, Rayapaseni, page 2 152 Agamodaya-Samiti Edition). There are also the 8 Pahudas of Kundakundacharya. The remnants now 16
available are fractions of Yoni-Prabhrita, Vijnana Prabhrita, fraction of Nimitta Prabhrita viz. Prashna #Vyakarana, dealing with Prashna-Jyotisha and different from the published Anga of identical name & Anga
Vidya. Thus about the middle of the 2nd century the Pahuda period ends. It appears that for the present work that the Vidya.Prabhrita and Pratishtha Prabhrita have been requisitioned.
PERIOD OF LOGICIANS. Then commences the era of Logicians with Siddhasena-Divakara at the head, followed by SamantaBhadra and others. They were followed by the great Siddhantins Devardhigani and Jinabhadragani and the

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#Agamas were systematically committed to writing as was the great Bhashya written. Sanghadasa and
others wrote the other Bhashyas about the time. They were followed by the Churnikaras, the greatest being Jinadasamahattara-Gani. All these followed the Tradition strictly and tried to protect the Siddhanta from the unfettered intellectual attacks of the Logicians.
PERIOD OF COMMENTATORS.

With Haribhadra came the amalgamation of Tarka with Siddhanta and commentaries in new style 1 I came to be written on Agamas in Sanskrit which thoroughly satisfied the logical instinct then aroused amongst the learned Jains by Siddhasena and his followers. The great commentators Shilankacharya Abhayadeva-suri, Malayagiri, Dronacharya and Shantisuri accomplished the task of ellucidating the Siddhanta. Hemachandracharya with his versatile intellect completed the development of the Jaina writings in all the branches of literature and philosophy and Jainism reached its Zenith in his times.
ASSESSORS
*S
WHEN DID THE JAINS COMMENCE WRITING WORKS IN BOOKS.
OS
2 N.
K
The very important feature of this work is that it contains passages which throw a considerable l ight on the Jain tradition and furnish direct proof of its authenticity which is already proved by Buhler
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Jacobi theory from independent sources. Prof. Jacobi has had to depend on indirect proofs, when he says that the scriptures of the Jains came to be written for general use in the time of Devardhi Gani
Xl duction. although it was not unusual long before that to write scriptures in books. The passages are as follows:
tatra mannatantrakalpānadīkṣitānna śrāvayet | nāpi tatpāāllekhayet | ajñānakharūpaṃ na dīkṣayet || pṛ. 7-2 tadartha kāyotsarga kṛtvā niṣadyāyāmupaviśya ātmano dakṣiṇabhāge śiṣyamupaveśya lagnavelāyāṃ kumbhakayogenācāryaparamparāgataṃ pustakādiṣu likhitamācāryamantraṃ nivedayet | * tato gandhapuṣpākṣatānvitaṃ muṣṭitrayamakṣāṇāṃ dattvā tadanu chatra-cāmara-hastyaśva-śibikā-rājāgāni yogapaṭṭaka-khaṭikā-pustakā-'śasūtra-pādukādikaṃ ca dadyāt || pṛ. 9-1
There is the direct reference to Pustaka i.e. book and the Surimantra being about the time written in books etc. There is also warning against an uninitiated person writing works relating to Mantra Tantra and Kalpas. It is possible thus that athough the books were not in general use in some places at least the scriptures must have been written in books for exact preservation of the same. We may 16 observe in passing that the reference to "Nandi-Sutra" in the chapter must be to the original Sutra and possibly to "Brihannandi described in "Yoga-vidhi" as also at the end of "Nandi-Sutra" (Agamodaya samiti Edition) and the inference of Dr. Jacobi that what Devavachaka did was to redact and enlarge upon the old work seems to be true.
While dealing with the Nitya-karma-Vidhi I dwelt upon the ceremonials being the same before and after the date of the present work. Another factor which goes to prove the authenticity of the Jain
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tradition is that the Pantheon as described in this work is the same as in the scriptures or subsequent works. The Mantras used in the ceremonials are also the same. The Saint Wheel (Siddha-Chakra) and the Nandavarta Mandala are also the same.
DIVISIONS OF SHWETAMBARAS AND DIGAMBARAS.
From the colophon of the work it appears that even in the first century of Vikrama the Divisions Olof Shwetambaras and Digambaras were in existence. The colophon of the Stutis of Siddhasena Divakara
confirms the existence of such divisions in ancient times. It is very probable therefore that the divisions are really much older than supposed to be, and Dr. Jacobi's inference in this respect from other sources seems to be quite sound. I think that the divisions became marked from the time of Arya-Mahagiri and Arya Suhasti.
Sestoskottet
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GATHAS FROM LOST AGAMAS.
The most important feature of the work is that it contains nearly 70 verses (Gathas), some of which are actually quoted as from "Agamas" and others are also probably from "Agamas" although not expressly stated so to be. These verses cannot be identified in any of the available "Agamas". The author himself in the opening verse mentions that this treatise has been extracted from "Jinagama". It is stated
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in the colophon that this treatise has been composed after considering the Mantras of the Siddhanta. The verses appear to give a connected account of the Installation-Ceremonies. They furnish to us a clue to what Purva literature was. It was not what is surmised to be merely the disputations of Shri Mahavira with his contemporaries, but a variety of subjects as already stated. It is probable that they formed a part of "Vidya-Pahuda", and may have been taken from "Pratishtha-Pahuda" separated by Vajraswami from the former work of Bhadrabahuswami. They thus furnish direct evidence of what "Pahuda-Granthas" were. Besides the said Gathas which look like quotations rather from "Pratishtha-Pahuda", there are Mantras in Prakrit which are probably taken from the larger work Vidya-Pahuda which as its name indicates must have dealt with various Mantras. I have already cited Jinprabhasuri's opinion on the point and have mentioned the names of "Pahudas" referred to in various works.
REFERENCE TO NIRVANA-KALIKA.
The "Prabhavaka-Charitra" mentions the present work by name, in the biography of Padliptasuri there given. The earliest work which cites the present work by name is the commentary by Siddhasenasuri (1186 A. D.) on "Pravachanasaroddhara" of Nemichandrasuri in connection with the description of atten dant Yakshas and Yakshinis, (see p. 95-1 Pravachana-Saroddhara Devachanda Lalbhai Edn.).

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HARIBHADRA'S BIMBA-PRATISTHA-VIDHI.
Without mentioning the present work by name Haribhadrasuri in his eighth "Panchashaka" named "Bimba Pratishtha Vidhi" has adopted many of the verses of the present work altering some partly, and incorporating many with but linguistic changes that took place in the Prakrit language, presumably because of the great interval of time between Padliptasuri and Haribhadrasuri. The learned commentator of Haribhadra's "Panchashaka" Shri Abhayadevasuri has quoted some of the Mangala-Gathas, only alluded to by Haribhadra the author of the work, without any appreciable alteration of language. These are:
jaha merussa paiṭhā jaṃbudīvasta majjhayāraṃmi | ācaṃdasūriyaṃ taha hou imā suppaiṭhatti || 1 || jaṃbūdīpā jahasesayadīvamajjhayāraṃbhi | ācaṃdrasūriyaṃ taha hou imā suppaiṭhatti || 2 || jaha lavaṇassa paiṭā savasamuddāṇa majjhayāraṃmi | ācaṃdrasūriyaṃ taha hou imā suppaiṭhatti || 3 ||
STYLE.
The author himself in the opening of this work says that the treatise is being written in a clear way (Spashtartha). The diction has the merit of what Rhetoricians call Prasada quality or clarity. The work is written in a pure, homely, concise, and clear style. The author has great command over language

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and owing to that merit is able to avoid monotony even in such a work of ritua's. He proceeds in a very smooth manner and keeps up our interest by the variety of subjects he treats of in a masterly manner giving authoritative statements on each of them. The treatment has the merit of thoroughness in a small compass. The sentences and phrases tend to become proverbial and imprint an ineffacable mark in our memory. We feel all along as if we are enjoying a summer-swim while going through the work,
STIGATOR
LIFE OF PADLIPTA.
Anton
The biography of the author has been given in Kathavali & Padlipta Prabandha (Prakrit), Prabhavaka Charitra, in great details and also in Prabandha-Chintamani. Padlipta's mother named Pratima wife of Fulla a merchant in Koshala, which was then ruled by King Vijaya Brahma had for many years no son. She worshipped the goddess Vairotya for having a son. She was told by the goddess to drink water being the foot-wash of Shri Aryanagahastisuri. He was in the line of Kalikacharya called the dynasty of Vidya dharas which started from Nami and Vinami the tributary Princes of thefirst Lord or Tirthankara Rishabhadeva, who were given the Vidyas presided over by 16 Vidyadevis viz. Rohini and others along with the
Kingdom of Vaitadhya by the Serpent-King Dharanendra. Hemachandracharya in his "Trishashtishalaka-18 #Purusha-Charitra" narrates the annecdote, and says that the Vidyadharas were divided in 16 groups

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named after the particular Vidyadevis worshipped by them. Thus Kalikas meant those who worshipped, Kali. The said Pratima went to Aryanagahastisuri the next morning and when about ten steps away from the preceptor partook of the said water. She was therefore told by the preceptor that as she did so she would have a son who will be reared up ten Yojanas away in Mathura on the other bank of Yamuna and that she would have ten sons. In return the preceptor asked of her that the first son should be allowed to be initiated as his pupil. She consented. The first son was the author of our work. He was brought up under directions of the preceptor and when 8 years old was intitiated by Shri Aryanagahastisuri's brother-preceptor Sangamasinhasuri. He was then placed in charge of Sangamasinha's learned pupil named Vachaka Mandanagani. Thus Padlipta became a scion of the Vidyadhara's Dynasty. Padlipta otherwise known as Palitta acquired learning under him very soon and learnt all that was being taught to other pupils also. Within a year he completed his studies. He was one day sent out to beg and bring food. On his return he said as follows:
ayaṃ taṃ vacchī apuṣpiryaṃ puṣpadaṃtapaṃtīe | navamālikaṃ jiyaṃ navavahūi kuḍaeṇa me dinam ||
Hearing this flowery description of the lady the preceptor remarked "You are Palitta (a) i. e. (Bemeared with sin)." The pupil replied, "Be pleased to add a Karna i. e. Say Palitta (f)" which meant, "You (may) have flying-foot application". The preceptor was pleased by the pupil'switty reply and his birth-name Nagendra given to him at his birth after the mother's dream of the King of Naga-Devatas was thenceforth changed into "Palitta". In his 10th year he was installed as an Acharya. He spent the

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