रायकुमारचरिउ एक आद्यन्त जैन-काव्य
Summary
This PDF discusses the Jain poet Pushpadanta and his Apabhramsha work "Nayakumarachariu." It begins by placing Pushpadanta among prominent Apabhramsha poets like Svayambhu and Dhavala, noting that while Svayambhu's "Pauma-chariu" is published, his "Ritthanemichariu" remains unpublished, whereas Pushpadanta's three works, including "Nayakumarachariu," are available. Pushpadanta, son of a Shaiva Brahmin named Keshavabhatta, later adopted Jainism. He moved to Manyakheta, where he met the Rashtrakuta ruler Krishna-raja and his Jain minister Bharata. At Bharata's request, he composed the "Mahapurana" (959-965 CE). Later, under the patronage of Bharata's son Nanna, he wrote "Nayakumarachariu" at his disciples' request, dedicating each section to Nanna. The text explains that Pushpadanta was proficient in Sanskrit, prosody, and poetics, but chose Apabhramsha for accessibility. The "Nayakumarachariu" is considered the earliest extant poetic treatment of the Nagakumara story, which is associated with the Shrutapanchami vow. The PDF details the work's structure: it begins with a prayer to the five supreme beings and Sarasvati, then follows Jain cosmological beliefs, describing the universe as uncreated. The narrative is framed within the tradition of Gautama Ganadhara recounting the story to King Shrenika at Mahavira's behest. The text includes several hymns of praise, such as those by King Shrenika, Prithvidevi, and Nagakumara. It emphasizes devotion, with characters visiting and venerating Jinas and monks. The work concludes with a phala-shruti, promising benefits like happiness and liberation to those who read, teach, or copy it.
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Conclusion
This analysis confirms that Pushpadanta’s *Nāyakumāracariu* is not merely a literary work but a deliberate instrument of Jain religious propagation, embedding doctrinal instruction within a narrative framework. The poem’s explicit *phalashruti*—promising worldly and spiritual rewards to those who read, copy, or teach it—transforms the text into a devotional object, actively shaping lay practice and reinforcing the authority of the Jain monastic tradition. By situating the tale within the authoritative chain of Mahavira, Gautama, and King Shrenika, Pushpadanta legitimizes the *Śrutapañcamī* vow and its associated merit, while the inclusion of hymns and scenes of worship models ideal devotional behavior. The outcome is a work that functions simultaneously as entertainment, catechism, and ritual manual, ensuring its continued relevance for Jain communities. Ultimately, the *Nāyakumāracariu* demonstrates how Apabhraṃśa poetry