Background
The Jambū-dvīpa-prajñapti is part of the Śvetāmbara canon. It belongs to the second group, the Upāngas, of which it is the sixth. Like all the texts belonging to the Śvetāmbara canon, its language is the variety of Prakrit known as Ardhamāgadhī.
The Jambū-dvīpa-prajñapti deals with the description and geography of the Jambū-dvīpa, which is the central continent of the Jain universe. The main part of the work deals with the seven lands and the six mountain chains that make up Jambū-dvīpa.
Among these lands, Bharata is the main focus of attention. The land is named after its ruler, the first Universal Emperor Bharata. The text gives an important place to legends connected with the life of Ṛṣabhanātha or Lord Ṛṣabha, the first Jina, and his eldest son Bharata. It also provides information about the divisions, mountains, lakes and rivers of the Jambū-dvīpa. Matters of time, which are inseparable from cosmology, are covered in the final part of the work.
Transcription
The text on this page can be divided into various parts.
End of the text proper
Lines 1 and 2
[bahū]ṇaṃ devāṇaṃ / bahūṇaṃ devīṇaṃ / majjha-gae / evam ātikkhati // evaṃ bhāsati / evaṃ paṇṇaveti / evaṃ parūveti / Jaṃbuddīvapaṇṇattī
nāmā ajjhayaṇe / aṭṭhaṃ ca heuṃ ca pasiṇaṃ ca kāraṇaṃ ca vākaraṇaṃ ca bhujjo uvadaṃsei ti // chaḥ //
Size of the text
End of line 2 and start of line 3
graṃthāgraṃ śloka / 4154
evaṃ saṃkhyā Jaṃbūdvīpaprajñaptikā samāptaḥ //
The scribe speaks
Lines 3 and 4
yādṛśaṃ pustake dṛṣṭaṃ // tādṛśaṃ laṣitaṃ mayā / yadi śuddham aśuddhaṃ vā // mama doṣo na dī-
yate // // chaḥ // śrīr astuḥ // chaḥ // kalyāṇam astuḥ // chaḥ // // śubhaṃ bhavatuḥ // śrī // chaḥ // // chaḥ // //
Colophon
Line 5
saṃvat 1652 varṣe vaiśākha śudi 5 dine / śrībṛhatṣarataragacche
Final benediction
Line 6
rthaḥ // ciraṃ naṃdatuḥ // śubhaṃ bhavatuḥ // kalyāṇaṃ bhūyāt // śubhaṃ bhavatuḥ // śrīr astuḥ // chaḥ //
Translation
The text on this page can be divided into various parts.
End of the text proper
Lines 1 and 2
[This is how Lord Mahāvīra, in the middle of several] gods, [and] several goddesses, explained, exposed, unfolded, described, the book named 'Exposition of the Jambū-dvīpa'. He showed again and again the meaning, the cause, the questions, the motives and the explanations. End.
Size of the text
Lines 2 and 3
It has the total number of 4154 granthas. The 'Exposition of the Jambū-dvīpa', which has this size, is now complete.
Traditionally, the size of a text is measured in a unit called grantha, which has 32 syllables. Since this number corresponds to the number of syllables of the verse known as śloka, the word śloka also occurs. Until recently this unit was used to calculate how much the scribe was paid. The number of granthas is not necessarily very accurate.
The scribe speaks
Lines 3 and 4
I have written as it was written in the manuscript [used as a basis for copying]. Whether it is correct or inaccurate, the fault should not be ascribed to me!
May there be good! May there be prosperity! May there be well-being!
Frequently, the scribe writes one or more verses at the end of the manuscript to describe the toils of copying. Such verses are technically known as 'scribal maxims'. The one here is extremely common.
Colophon
Line 5
In the year 1652 of the [Vikrama] era, on the fifth day of the bright half of [the month] of Vaiśākha, in the Large Kharatara-gaccha…
The date is given according to common practice in Indian and Jain manuscripts, which records the:
- year in the Vikrama era, which here corresponds to 1596 CE
- lunar month – Vaiśākha is roughly equivalent to April to May.
- day within the fortnight of the month – śudi indicates that it is the bright fortnight and the day here is the fifth of this fortnight.
The term 'Great Kharatara-gaccha' refers to the subsect involved in the process of commissioning and copying. Any other information has been deliberately erased with yellow pigment.
Final benediction
Last line
…May [the manuscript] rejoice for a long time! May there be well-being! May there be good! May there be well-being! May there be prosperity.
Common at the end of manuscripts, such benedictory formulas all have similar meanings. The scribe bestows blessings on the readers and wishes that the manuscript he has copied lasts for a long time.
Glossary
Description
There are several notable things about this page, namely:
- the original paper is slightly torn at the edge
- inside an ornamental red square at the bottom of the right margin is the number 116, which is the folio number
- at the top of the left-hand margin Jambūdvīpa° sūtra 116 is the abbreviated title of the work Jambū-dvīpa-prajñapti, along with the folio number, which therefore occurs twice on the page
- above line 1, in the left-hand margin by line 12 and below the central red circle are words the scribe originally missed out that have been added by a later reader.
Colours are used for emphasis. Red is used to write the:
- symbol cha in lines 2, 4 and in the last line, which is used at the end of chapters or texts
- date and what remains of the colophon on line 5
- final benediction formula on the last line.
Yellow pigment is used as an eraser in such manuscripts. Here it has been used extensively on lines 6 to 11.
Just visible under the yellow pigment is some text in red ink. Some syllables can be guessed, but on the whole it is no longer legible. The person who used yellow pigment deliberately wanted to hide some information. In this case, the deletion relates to the monks or lay people involved in copying the text. Such deletions are quite common.
The three red circles along the central horizontal plane are symbolic reminders of the way in which manuscripts were bound when they were on palm-leaf. Here the central circle is in a lozenge-shaped blank space. Strings through one or more holes were used to thread together the loose folios so the reader could turn them over easily. The circles are in the places where the holes would once have been.
Script
The elaborate script is the Jaina Devanāgarī script, in a form which recalls calligraphy. It is used for writing many Indian languages, here for Prakrit.
There are a few notable features of this script, namely:
- it is an old type in the way the sounds e and o are notated when used with a consonant, known as pṛṣṭhamātrā script
- the red vertical lines within the text, which, though they are used to divide the long sentences into smaller parts, are not necessarily punctuation marks.
- Source:
Bodleian Libraries, University of Oxford
- Shelfmark:
MS. Ind. Inst. Sansk. 109
- Author:
unknown
- Date of creation:
1596
- Folio number:
116 verso
- Total number of folios:
116
- Place of creation:
western India
- Language:
Ardhamāgadhī Prākrit
- Medium:
watercolour on paper
- Size:
28 x 13 cms
- Copyright:
Bodleian Libraries, University of Oxford
- Image Copyright:
- +
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- sŚvetāmbara
- sŚvetāmbara Terāpanthin
- sŚvetāmbaras
- sSwan
- sSyād-vāda
- tTabla
- tTantra
- tTapā-gaccha
- tTapas
- tTāraṇ Svāmī Panth
- tTattva
- tTattvārtha-sūtra
- tTemple
- tTemple-city
- tThe Enlightenment
- tTheology
- tThree worlds
- %Ṭīkā
- tTilaka
- tTīrtha
- tTīrthaṃkaranāma-karman
- tTīrthankara
- tTransliteration
- tTrasa
- tTrasa-nāḍī
- tTriśalā
- tTriṣaṣṭi-śalākā-puruṣa-caritra
- tTti bemi
- tTughlaq
- tTunk
- uUdumbara
- uUniversal History
- uUpādhyāya
- uUpāṅga
- uUpaniṣads
- uUpāsaka
- uUpasarga
- uUpāśraya
- uŪrdhva-loka
- uUtsarpiṇī
- uUttarādhyayana-sūtra
- vVāhana
- vVaimānika
- vVairāgya
- vVaiṣṇava
- vVaiśramaṇa
- vVaiśya
- vValabhī
- vVanaspatikāya
- vVandana
- vVaṇik
- vVarṇa
- vVāsudeva
- vVāsupūjya
- vVayubhūti
- vVeda
- vVedanīya-karma
- vVegetarianism
- vVehicle
- vVernacular
- vVerso
- vVidyā
- vVidyā-devī
- vVihāra
- vVijñapti-patra
- vVikrama-saṃvat
- vVikṛti
- vVimala
- vVinaya
- vVipāka
- vVirji Vora
- vVirodhaja
- vVīrya
- vVisarga
- vViṣṇu
- vVītarāga
- vVizier
- vVotive
- vVow
- vVrata
- vVS
- vVyakta
- vVyantara
- vVyasana
- yYakṣa
- yYakṣī
- yYantra
- yYaśoda
- yYaśovijaya
- yYati
- yYātrā
- yYoga
- yYoginī
- yYojana
Description
There are several notable things about this page, namely:
- the original paper is slightly torn at the edge
- inside an ornamental red square at the bottom of the right margin is the number 116, which is the folio number
- at the top of the left-hand margin Jambūdvīpa° sūtra 116 is the abbreviated title of the work Jambū-dvīpa-prajñapti, along with the folio number, which therefore occurs twice on the page
- above line 1, in the left-hand margin by line 12 and below the central red circle are words the scribe originally missed out that have been added by a later reader.
Colours are used for emphasis. Red is used to write the:
- symbol cha in lines 2, 4 and in the last line, which is used at the end of chapters or texts
- date and what remains of the colophon on line 5
- final benediction formula on the last line.
Yellow pigment is used as an eraser in such manuscripts. Here it has been used extensively on lines 6 to 11.
Just visible under the yellow pigment is some text in red ink. Some syllables can be guessed, but on the whole it is no longer legible. The person who used yellow pigment deliberately wanted to hide some information. In this case, the deletion relates to the monks or lay people involved in copying the text. Such deletions are quite common.
The three red circles along the central horizontal plane are symbolic reminders of the way in which manuscripts were bound when they were on palm-leaf. Here the central circle is in a lozenge-shaped blank space. Strings through one or more holes were used to thread together the loose folios so the reader could turn them over easily. The circles are in the places where the holes would once have been.
Script
The elaborate script is the Jaina Devanāgarī script, in a form which recalls calligraphy. It is used for writing many Indian languages, here for Prakrit.
There are a few notable features of this script, namely:
- it is an old type in the way the sounds e and o are notated when used with a consonant, known as pṛṣṭhamātrā script
- the red vertical lines within the text, which, though they are used to divide the long sentences into smaller parts, are not necessarily punctuation marks.