महाकवि पुष्पदंत के आदिपुराण की एक सचित्र पाण्डुलिपि
By राँ कस्तू रचन्द कासलीवाल
Summary
This document discusses the Apabhramsha language, a rich language of India with a vast body of literature, particularly from the 8th to 16th centuries. It was widely used by Jain acharyas, saints, and poets, fostering intellectual exchange between northern and southern India. Key poets include Svayambhu, Pushpadanta, and others. Much of the literature, focused on Puranas, poetry, and stories, was highly popular. For centuries, Apabhramsha works were mistakenly classified as Prakrit, but it is now recognized as an independent language. The text focuses on a richly illustrated manuscript of Mahakavi Pushpadanta's Adipurana, part of his larger Mahapurana which details the lives of the sixty-three Shalaka-purushas. Two illustrated manuscripts of the Adipurana exist: one in a Digambara Jain temple in Jaipur and another in Delhi. The Jaipur manuscript, dated to Samvat 1597, originally had 344 folios but now has 338. It contains 558 illustrations, notable for their artistic quality, color, and style. Some illustrations are full-page. The background is red, with yellow and green also used. Art expert Dr. Motichandra notes the human figures resemble Western Indian painting. The attire is simple: women wear cholis, saris, and shawls, with specific jewelry; men wear turbans, dhotis, and colorful dupattas. Key illustrations are described, including Pushpadanta's arrival before Minister Bharata, Queen Marudevi looking in a mirror, the marriage of Adinatha, Adinatha teaching his daughters, and the coronation of Adinatha. The manuscript also features numerous scenes of armies marching and in battle, including the Bharata-Bahubali war. The illustrations are so extensive that they convey the entire narrative of the Purana. The manuscript is considered an extraordinary work of art, promising to reveal new dimensions of art and culture upon further study.
Conclusion
This illustrated manuscript of Pushpadanta’s Ādipurāṇa is a singular cultural artifact, demonstrating how Apabhraṃśa literature was not merely textual but deeply visual. The 558 surviving paintings, with their vivid colors, detailed costumes, and narrative sequences, transform the religious epic into a comprehensive historical document of medieval Indian life, art, and social customs. The manuscript’s preservation and study have significant implications for understanding the independent status of Apabhraṃśa as a language, correcting centuries of misclassification as Prakrit. Furthermore, the detailed depictions of warfare, courtly life, and daily attire offer concrete evidence for reconstructing the material culture of the period. This manuscript thus serves as a crucial bridge between literary history and art history, proving that illustrated texts are essential for a holistic understanding of India’s pre-modern intellectual and aesthetic traditions.