Category:Abhidhāna-cintāmaṇi with Nāmasāroddhāra commentary (Or. 13806)

Homage to Sarasvatī

 

Description

Against a dark blue background a four-armed woman sits cross-legged on a swan. A parasol with two fly-whisks shelters her.

The four arms indicate that the figure is a goddess. She is Sarasvatī, the Hindu goddess of learning and the arts, who is worshipped by Jains as well. She is often pictured at the beginning or end of manuscripts. Here it is the first page of the manuscript. She is riding her traditional vehicle, a white swan – haṃsa. The swan’s head has a tuft of feather, as a peacock would normally have. This is noteworthy as the peacock or swan is Sarasvatī’s traditional vehicle.

In one hand the goddess carries a manuscript, representing learning and traditional knowledge. The letters shown on this miniature manuscript are sa ra in the beginning and tī at the end. It is likely they stand for Sarasvatī and function as a kind of caption to the image. In another hand the goddess holds the lute – vīṇā – representing the arts. Note the realistic depiction of the instrument, with the tassels, which serve as stands. In yet another hand, she holds a rosary and in the fourth one a flower. The luxurious vegetation shown on her right side, with colourful flowers, is probably ornamental and adds to the atmosphere of the picture.

Other visual elements

Format of the text

This is what is technically called a tri-pāṭha manuscript, namely a manuscript where the page is organised into three different parts. Separated by blank lines, these are:

  • the central part with the main text, which here comprises the first three lines of the Abhidhāna-cintāmaṇi written by Hemacandra in the 12th century.
  • the upper and lower parts, where the lines are closer together and the script smaller, contain the commentary, which is the Nāma-sāroddhāra written by Śrīvallabha-gaṇi in the 17th century.

The part of the page where the text and the image are found is bounded by margins either side.

In addition, syllables of the commentary have been arranged to produce decorative lozenge shapes.

The folio number appears twice as 1:

  • in the lower corner of the right-hand margin, which is the usual place
  • in the top corner of the left margin.

The title of the work appears in the left margin, here given as ‘Nāmasāroddhāra’. This is the title of the commentary, which is thus given prominence here.

Beginning of the text

Typically of many Jain manuscripts, the start of the manuscript is characterised by:

  • an auspicious symbol
  • the word arhaṃ, which is an auspicious word similar to a mantra, and refers to the Arhats or Jinas.
  • the first stanza of the text proper being a homage to the Jinas
  • the first stanza’s statement of the author’s purpose and the name of his work, Nāma-mālā – Garland of Words.

Then comes the text proper, made up of the first two complete stanzas and the beginning of the third one.

Script

The elaborate script used for the main text is the Jaina Devanāgarī script. It is used for writing numerous Indian languages, here for Sanskrit.

Background

Sarasvatī, the Hindu goddess of learning and the arts, is worshipped by Jains as well. She is often represented at the beginning or end of manuscripts. Here she rides her traditional vehicle, the swan – haṃsa.

This is the first page of a manuscript of the Abhidhāna-cintāmaṇi – Stone-Jewel of Words. Another title given to it is Nāma-mālā – Garland of Words – which appears in the final colophon. It is one of the main works of the scholar monk Hemacandra (1089-1172 CE). The Abhidhāna-cintāmaṇi is a thesaurus of Sanskrit synonyms written in verse and organised in six chapters on the following themes or headings:

Abhidhāna-cintāmaṇi chapters and topics
Chapter number and title Topic
1. devādhi-deva Jinas
2. deva gods
3. martya or nara human beings
4. tiryañca animals
5. nāraka residents of hell
6. sāmānya-kāṇḍa general section of abstract words, adverbs, particles and so on.

Hemacandra’s work belongs to the rich tradition of such texts. The most famous is the Amarakoṣa, a fundamental work for traditional education in Sanskrit. Such books owe their existence to the fact that Sanskrit is a language with a very abundant vocabulary, where a given entity – for example ‘water’ or ‘lotus‘ – can be referred to by numerous words. In such works, the idea is to provide all these alternative terms. In some cases, all of them have the same meaning but in other cases they refer to different realities. The Abhidhāna-cintāmaṇi is obviously influenced by its predecessors. It is a comprehensive storehouse of Sanskrit words of all kinds, many of them unknown from other sources.

But it is also a dictionary of all topics that relate to the foundations of Jainism and specific notions of the Jain conception of the world. For example, the first two sections list information about the Jinas and gods, going into great detail about the Jinas, including details such as their parents’ names and their emblems – lāñchanas. With a more cosmological orientation, the fourth section classifies living beings by number of sense organs while the fifth section contains names of and figures relating to the seven hells. The wealth of vocabulary in section IV, in particular, is remarkable, as it is in several Jain texts. The influence of local languages is felt in several animal names with no equivalent in Sanskrit. Thus, in many ways, this work amounts to a manifesto of Jain doctrine, which echoes the beginning of the author’s Tri-ṣaṣṭi-śalākā-puruṣa-caritra – Life Stories of the 63 Great Men. This also skilfully combines general vocabulary and Jain terminology.

The Abhidhāna-cintāmaṇi was one of the first Jain texts printed, “made by order of H. T. Colebrooke” and published in 1807–08. It was instrumental in establishing Jainism as a distinct tradition in Western scholarship, for it contains a list of the names of the 24 Jinas and the Jain conception of the universe and time.

This famous thesaurus has generated many commentaries, the first by Hemacandra himself. The present manuscript contains the one known as Nāma-sāroddhāra – A Compendium of Words. It is written above and below the main text in smaller script. The commentary was composed by Śrīvallabhagaṇi, a disciple of Jñānavimala-upādhyāya, in the year 1667 of the Vikrama era – 1610 CE – in Jodhpur in Rajasthan, under the reign of King Sūrasiṃha (1594–1619) and the joint spiritual rule of Jinacandra-sūri and Jinasiṃha-sūri. Even though this manuscript has no date, the commentary was completed in year 1667 of the Vikrama era (1610 CE) in Jodhpur, Rajasthan, in the reign of King Sūrasiṃha (1594–1619) and under the joint spiritual rule of Jinacandra-sūri and Jinasiṃha-sūri. It was written by Śrīvallabha-gaṇi, a disciple of Jñānavimala-upādhyāya. At the end of the commentary, the author gives full details about his monastic lineage, namely the Kharatara-gaccha.

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