Introduction of Bhoovalaya
(Shri Kumudendu Acharya & his time)
There had been many Acharyas named Shri Kumudendu (Indu means moon). One Kumudchandra is the composer of ‘Kalyanmandir stotra’. One Kumudchandra had been a great debater loquacious erudite who had participated in doctrinal debate with Swetambers. There had been one Kumudendu in 1275 who was disciple of Maghnandi Siddhant chakreshwar who had written Ramayan treatise. But the composer of this great treatise Bhoovalaya Shri Kumudendu Acharya seems to be a different personality from all these.
There is one Kanahri book in verse namely ‘Kumudendu Shatak’ of Shri Devappa written in Piriya Pattan in which there is mention of the creator of Bhoovalaya, Shri Kumudendu Acharya. Devappa has written a musical poem considering ‘Kavimala’ & ‘Kavya mala’ (i.e describing serially poets and poems) which contains ornamental (decorative) description of Kumudendu Acharya, the composer of Bhoovalaya. Some Kanhri verses are being given here as illustration. Well, Kumudendu Acharya did not mention the name of his parents but after becoming Muni and at the time of composing this Bhoovalaya named world level verse, gave his some introduction which is revealed from the following verses-
The poet says addressing the Karnataka public-
Meaning- The aim of Kumudendu Acharya is to earn great reputation. To observe routine of Muni is his glory. He used to create new & newer fame. He was a great incarnated person. He was spreader of the glory of the ‘Sengana’. His exogamous sub-division of caste-group is Saddharma, Sutra (origin) is Vrasabha, ‘Shakha’ (Branch) is ‘Dravyang’ and the genealogy (family line) is Iksvaku, is complete renouncer Sen. He was a joy-giving leader of the newly established Gana Gaccha. He blessed Karmat King of pure interest in new India to increase the tradition of the religion of non-violence in the building of ‘Bharat’. He composed world famous treatise Bhoovalaya which harmonize and unify all languages and all beliefs (view points). In this way Devappa has introduced the composer of Bhoovalaya treatise Shri Kumudendu (Kumud Chandra) Acharya. It seems from the Bhoovalaya treatise that Kumudendu Acharya explained the ‘Karan aphorism’ (Karan sutra) (Auspicious & unauspicious karmic results of beings) with expatiation to Karmataka chakravarti, the king of Manyakheta Rastrakoot Amoghvarsa.
If seen by critical study of the description about Kumudendu Acharya then he was born in the family- lineage of Iksvaku pedigree and belonged to Sengana Jnatra genealogy, Saddharma exogamous sub-division, Shri Vrashabh sutra (origin) and Dravyanuyoga branch and organized new Ganagaccha originated from Sengana.
Shri Kumudendu was knowing all the resonant speech of the Omniscient, hence he was a great learned prestigious scholar/Pandit and people used to perceive him like Omniscient. And Veersenacharya is stated to be the knower of auspicious Prabhrit (a kind of scriptural knowledge) Bhoovalaya existed earlier to this by arithmetical method. And Jinsenacharya has been given the honour after Veersenacharya remembering him by the adjective “the body of Jinsenacharya was very much virtue- increasing thing by birth”.
As far as I know not any other literary treatise came to light written with sum of digits i.e. accumulating digits. Shri Kumudendu Acharya mentioned tradition of spiritual teachers before Veersenacharya in his Karnataka verse consisting all languages with the consent of his great guru Veersenacharya in the following form:- Vrasabhsen, Kesarisen, Bajrachamer, Charusen, Vajrasen, Adattasen, Jalaysen, Nagsen, Kunthusen, Dharamsen, Mandersen, Jaisen, Saddharmasen, Chakrabandh, Svayambhusen, Kumbhasen, Vishalsen, Mallisen, Somsen, Vardatta muni, Swamprabharti and Indrabhuti (first Gandharas of 24 Tirthankaras) after then Vayubhuti, Agnibhuti, Sudharmasen, Aryasen, Mundiputra, Maitriysen, Ankapsen, Andhraguru Gandhara (of Mahavira). After this Shri Prabhavsen conquered a great scholar of arithmetic Shri Harishivshankar in doctrinal debate in Kashi (Banaras) and by composing a ‘Pahud’ treatise (religious scripture in verse) in the form of arithmatical digits obtained the hounourable encomium of the position of second Gandhara.
Tradition of spiritual teachers
In this way getting protection and fostering from Karnataka Sengana and having been quoted- Hari, Har, Siddha, Siddhant, Arihantasa Bhoovalaya from precept no. [6-186-190] Nilaya of Varsen guru [7,19] from Dharsenacharya i.e. composing alphabetical digit coming from supreme devotion of 5 gurus (Supreme divinities) of the compassion of Dharsen Acharya and mixing Prakrit, Sanskrit & Kanhari all these three, upto 40 hyms of this intervening series of 13-212 of the methodical treatise, the scriptures of Sanskrit, Prakrit, Karnatak form three languages, were composed and after Dharsenacharya, Bhootvali brought this easy path Bracket-verse (Kosthaka kavya) [5-1-77] in the form of Bracket-bond digit (kosthak bandha ank) [8-51] upto the tradition of spiritual teachers by composing Bhoovalaya in the form of dual-combination of words in the new Prakrit language not only this but apart from this precisely in the part of Karnataka Shivkoti (4-10-102), Shivacharya (4-10-105), Shivayan [107], Samantbhadra [4-10-101], Pujyapad [19-10] these names and in the Prakrit, Sanskrit section series of Bhoovalaya Indrabhuti Gautam Gandhar Naghasti, Aryamanksa and Kundkundacharya etc. have been remembered. Presently, after emerging new consonance hidden in the literature of aggregate of digits-wheel (Ank Rashi Chakra) new and novel ideas shall appear. This time whatever I wished to express the very same account of subject is being given here.
Seeing this Bhoovalaya and understanding it, a Jain Brahmin Avegmogha of Priya pattan was impressed, hence for him Devappa has told the subject of Kumudendu in his first part of ‘Kumudendu shataka’ remembering Mahaveera and some Acharyas paying obeisance to them that in the verse quoted at the time of remembering ‘Viswa Vigyan Kovid Kirti kiran prakash’ (i.e. a world famous scholar of ray radiant brightness) Kumudendu Guru, the son of Udichandra who was the son of Shri Vasupujya ‘Trividyadhar’ (i.e. holding three kinds of learnings)-
श्री देशीगणपालितो बुधनुतह। श्री नंदिसंघेश्वरह।
श्री तर्कागमवार्धिहिम (म) गुरु श्री कुंद कुंदान्वयह।।
श्री भूमंडल राजपूजित सज्छ्री पादपद्मद्वयो।
जीयात् सो कुमुदेंदु पंडित मुनिहि श्रीवक्रगच्छाधिपह।।
In this verse Devappa has shown that Kumudendu Acharya, the composer of Bhoovalaya belonged to indigenous (Deshi) Gan Nandi sangh of Kundkundamnaya i.e. of Kundkund sect. Creating new Gangaccha and due to exhorting them, these very have been mentioned in Sengana and it seems that ‘Deshigan’ must have developed/emerged from that. Many Jains of Sengan exist even today in Karnatak province who protect and follow the Jain tradition. And Kumudendu the composer of Bhoovalaya while describing sacred mountains of world-adored Jain religion situated in Kodvad village Talekat or Talekad Nandigiri in the long-drawn euology of Gangras, his entire feeling/sentiment is imbued with his tranquil volition in describing the form of ‘Nandi’ mark of Tirthankara Adinath made on the Nandigiri mountain. This thing is made clear from his words- It was constructed by Simhnandi Munindra, the founder of Gang empire in Shak Samvat 1 christian era [78]. His first capital must be Nandigiri. I can definitely say that the present Kumudendu belonged to that very Simhnandi family line. One monastery (Math) of their tradition exists in Simhangadya and where there is existence of Sangan there exists all along the field of their religion. Thus considering the entire subject, the description given by Devappa seems to be correct.
Devappa has done great good towards public by understanding Bhoovalaya verse by special method which is the tenth wonder of the world. By composing this Bhoovalaya verse which includes (contains) all the languages of the world has given great glory to his father in the world. It is proved by this that the father of Kumudendu was Vasupujya and Udaichand was the father of Vasupujya.
Whatever sources (means) we could get for ascertaining the period of Kumudendu, on the basis of them we can say that the mention of names of earlier personalities and their brief introduction, names of contemporary persons, introduction of contemporary kings by the author of the treatise are of help in determining the period of Kumudendu.
Personalities existed before Kumudendu viz. Acharya Dharsen, Bhootvali, Pushpadant, Naghasti, Aryamanksu and Kundkund etc. and mentioned by other manner- Shivkoti, Shivayan, Shivacharya, Pujyapad, Nagarjuna all these erudite existed before eighth century A.C. Although treatises of their tradition are not available still vast literature written in Sanskrit, Prakrit and Karnataka language and works of Vishwasen, Bhootvali, Pushpadant etc. are presently available. But the poetical skill of manifesting the nature of reality by incorporating all languages is not found in them like the verse of Kumudendu. Amoghvarsa, the humble disciple of Shri Kumudendu has mentioned which names of poets in his work, ‘Kaviraj Marga’, are as follows-
विमलोदय नागार्जुन समेत जय बंधुदुर्विनीतादिळो।।
करमरोळ्चिगद्या श्रम पद मुरू प्रतीतियंके य्कोन्जर्।।
Out of Vimal, Udai, Nagarjun, Jaibandhu, Durvinit poets the ‘Kaksput Tantra’ composed by Nagarjun was understood, it was originally in Kanhri language and afterwards transformed in Sanskrit. Thus by this mention, it is guessed that precisely the literature of the Durvinit reign is available. The literature of Vimal, Jaibandhu has not been made available to us (i.e. I could not trace it) nevertheless the reference coming in the treatise in Karnatak prose of Nriptung Amoghvarsa in which poet Devappa of Priya pattan has been shown to have told Udaichand as the father of Kumudendu and there is absolutely no objection in saying that the name of this Udaichand is precisely the ‘Udai’ (as mentioned by King Amoghvarsa in his ‘Kaviraj Marga’). And it is made clear that Pujyapad Acharya referred in this Bhoovalaya treatise composed ‘Kalyankarak treatise’ because the poets who existed preceding Kumudendu, their period was not after 600 A.C. What I have understood from this treatise it is mostly indistinct. I did not find the complete treatise. But what I have seen from that it is well perceived that there had been one Sanskrit poet Balmiki according to the writing of Kumudendu Acharya (कवि वाल्मीकि रस दूत आणि सूवा) Thus Kumudendu Acharya has mentioned the name of Balmiki Risi, the composer of pure Ramayan, in his Bhoovalaya treatise. But no final decision has been taken till now regarding this. Someone says that he belongs to the sixth century and some other regards his period after the sixth century. Thus his exact period could not be decided as to when he existed?
The violent Ayurveda of Charak was refuted in debate by referring Shiva-Parvati arithmetic in the assembly of Amoghvarsa. Thus the above account given by Kumudendu Acharya is still indistinct. Also the mention of Acharya Samantbhadra is yet to be considered. From this statement it is clear that all poets mentioned by Kumudendu Acharya existed preceding the sixth century. Among the contemporaries of Kumudendu were first Veersenacharya and the second Jinsenacharya. Veersenacharya has composed Dhavala commentary of Satkhandagam and Jinsen is the composer of Mahapurana. He (Veersenacharya) completed his ‘JaiDhavla’ commentary in Shak samvat 759 and near about during that period, Jinsen departed for heaven leaving his Mahapurana incomplete which was completed by his disciple Gunbhadra. Hence afterwards at that time his disciple Kumudendu existed, such is guessed.
3. It is said that Kumudendu Acharya had narrated (read aloud) his this treatise to Amoghvarsa, the king of Rastrakoot. From this the period of Amoghvarsa of Manyakhet could definitely be determined. Kumudendu Acharya has mentioned the name of Amoghvarsa several times in his treatise-
भारतदेशद मोघवर्षन राज्य। सारस्क्तबंबंग ।8126।
तनल्लि मान्यखेटददोरेजिनभक्त। तानुअमोघवर्षांक ।9-146।
सिहियखंडदकर्माटकचक्रिय। महिमेमंडलभेज्ञरांतु ।9-172।
गुरुविनचरणधूळिय होमोघांक। दोरेयराज्य ‘ळ्’ भूवलय।।
जानरमोघवर्षांकनसभेयोळुं। क्षोणिशसर्वज्ञमतदिं।।
इह स्वर्गवीएंबंतेरदिम् ।9179। वहिसि अमोघवर्षनृप।।
ऋषिगळेल्लरुएरगुबत्तेरदिंदळि। ऋषिरूपधरकुमुदेन्दु।।
हसनादमनदिंदमोघवर्षांकगे। हेसरिट्टुपेळ्द श्री गीतं ।45।
ऊनविल्लद काव्यदक्षरांकद काव्य। काणिपवैंकुंठ काव्य ।46।
ऊनविल्लद श्री कुरुवंशहरिवंश। आनंदमय वंशगळलि।
तानेतानागि भारतवाळ्दराज्यद। श्री निवासन दिव्य काव्य।
सिरि भूवलयम्नाम सिद्धांतनु। दोरे अमोघ वर्षांक नृपम्।
ईयुत कर्माट जनपदरेल्लर्गे। श्रेयोमपिलधर्मम ।16-2कु4,5।
Thus the quotations have been given from his treatise addressing Amoghvarsa in many ways. There is nodoubt that the period of Amoghvarsa and his reign had been from 814 christian era upto 877 B.C. The period of his Guru must have been 8th century of Christian era, such is guessed. Kumudendu Acharya has remembered ‘Gangarasa’ and his doubts and has also mentioned Gotthik named Shaivatt Shivmarga for example-
महदादिगांगेयपूज्य ।56। महियगन्गरसगणित ।66।
महिय कळ्वप्पुकोवळला ।71। मवरितलेकाच गंग ।72।
अरसराळिदगंगवंश ।12। त् रसोत्तिगेयवर मंत्र ।13।
एरडुवरेयद्विपदंद ।14। गरुवगोट्टिगरेलुरंद ।15।
अरसुगळाळ्दकळ्वप्पु ।20। ट्रदंगनुभवकाव्य ।23।
आदि योळु मत्त वर्णदसेनर। नादिय गंगर राज्य।
सादि अनादिगळुभय वसाधिप। गोदम निम्बंद वेद ।23।
From these mentions it is clear that Acharya Kumudendu has mentioned Amoghvarsa by the name of ‘Shaivaha Shivmarga’ which seems to be his former names.
He composed the ‘Gajastaka’ named verse in Kanhri prose.
This Shaibatt-vattiga was expert in composing poems.
The ‘Gajastika vanike vas’ etc. verses in the Bhoovalaya are found in the ‘Chattan’, ‘Vedann’ named two old styles of verse composition in Karnataka language on the subject of crushing and grinding which express the old style of verse-composition. So far as the verse of Amoghvarsa is concerned both the above mentioned verses are found in that. He has definitely used them.
Shivmarga Vatti ruled over the southern Karnataka from 800 B.C. to 820 B.C. Afterwards Gangaras King Nandgiri (Lalpuradhishwara) ruled over it. Not only this but apart from it there is mention of ‘Kid Vappu’ ‘Kalla Vappu’ which is old name of Shravanbelgol. It is found mentioned in an old treatise named ‘Baddharaka’ in the period of reign before 7th century. It seems that this place was a capital city of a province of the Gang king. It is also regarded as a virtuous place of pilgrimage like other places of pilgrimage. If this subject is studied systematically then the period of Kumudendu Acharya and of his contemporary king shall be proved as between 813-814 century of Christian era. We can roughly say so. Seeing the further chapter of Bhoovalaya, as far as possible after taking out it from digit-couplet (अंक पद) we get the definite period between Christian era 813-814 from however much literature we may wish. From this it is proved that Kumudendu Acharya existed in the 8th century of Christian era.
Debater Kumudchandra (1100 A.C).
He has written ‘Jinsamhita’ (the Jain code) named commentary on ‘Pratishthakalpa’ in Kanhri in 1100 A.C. In the end it concludes praising the author in these words, “the son of Maghnandi Siddhant chakravarti Kumudchandra, the expert in spiritual arguments four-fold scholar has composed it.”
Adjacent scholars (1205 A.C.)
Describing tradition of spiritual teachers following ascetics have been eulogized, viz. Veersen, Jinsen, Gunbhadra, Somdeva, Vadiraj, Munichandra, Shrutkirti, Nemichandra, Vasupujya his disciple Shrutkirti, Munichandra’s son Veernandi Nemichandra Saidhantika, of Balatkargana udaichandra Muni the disciple of Nemichandra Bhattaraka Vasupujya Muni, Ramchandra Muni, Nandiyogi, Shubhchandra, Kumudchandra, Kamalsen, Maghvendu disciple of Shubhchandra-Lalitkirti, Vidyanandi, Bhavsen, Veernandi the son of Kumudchandra etc. None of them is connected with Kumudendu Acharya.
Kumudendu (1275 A.C.)
In this tradition of spiritual teachers of Kumudchandra there are Veersen, Jinsen (after seven erudites) Kumudendu the son of Abhyendu who was disciple of Vasupujya, Madhavchandra Abhyendu, Vrat son Kumudendu, Maghnandi Muni, Balendu Jinchandra, these Kumudendu Muni also are not the composer of Bhoovalaya.
Poet Mahabal (1254 A.C.)
In his tradition of spiritual teachers Jinsen, Veersen, Samantbhadra, poet Parmesthi, Pujyapad, Gridhpicch, Jatasinghnandi, Aklanka, Shubhchandra, Kumudendu Muni, Vinayachandra, Madhavchandra, Rajguru, Munichandra, Balchandra, Bhavsen, Abhyendu, Maghnandiyati, Pushpasen, also these Kumudendu are not the composer of Bhoovalaya.
Maghnandi of the community (1260 A.C.)
In his tradition of spiritual teachers of the Balatkargana-Vardhman (after the disciple of Anektalemaru) Shridhar- disciple of Vasupujya- disciple Udaichandra- disciple Kumudchandra, disciple poet Maghnandi. Also this Kumudchandra is not the composer of Bhoovalaya.
Kamal Bhava (1275 B.C.)
In the tradition of spiritual teachers as told by him Kondkund, Bhootvali, Pushpadant, Jinsen, Veersen (further twenty three more names) Padmasenvrati, Jaikirti, Kumudendu yogi, disciple of Maghnandi Muni, thus after six erudites there are self-teacher scholar Maghnandi etc. Muni. In this tradition of spiritual teachers the name of Maghnandi has appeared thrice. This Kumudendu also is not the composer of Bhoovalaya.
Similarly, there had been several erudites of the name Kumudendu or Kumudchandra, their tradition of spiritual teachers is different from that of present Kumudendu in question and the period is modern. Hence there is no occasion of considering other erudites of so called named Kumudendu because they are not in any way related/connected with the present composer of Bhoovalaya treatise; so be it
Language & Script
According to Kumudendu Acharya all Gandharas right from Vrashabhsen of Tirthankara Vrashabhdeva to Indrabhuti Gandhara of Mahaveer precisely belonged to Karnataka province, hence all Tirthankaras preached their spiritual instructions in that all linguistic divine language and that precisely was diffused in the entire universe. Only Karnataka language has the power to express that all-linguistic divine speech in the compact authentic form. There is no exaggeration in saying so.
The knowledge imparted by the first Tirthankara Shri Rishabhdeva to his both the daughters was also precisely in the Kanahri language and it is also said that he endowed Bharat, the son of his elder queen Yashashwati with his empire and gave sovereignty of Podanpur to Gomanddeva the son of his younger queen Sunanda before his departure to final emancipation. Afterwards his daughters Brahmi and Sundri requested his father to give them also some such eternal thing, Requesting so by his daughters the father said, quite correct but he had already parted with all the worldly things to his sons.
Lord Rishabhdeva thought that it was not fruitful to give them some worldly thing, some such thing should be given which would keep their name and fame intact even in the world hereafter. They should be given some such fundamental thing which is the basic means of the entire knowledge, thinking so he called both the daughters and causing Brahmi to sit on his thigh, he wrote on her left palm with his right thumb all those digits which are required to complete all the languages, viz. from अ (a), इ (i), उ (u), ऋ (r), लृ (lr), ए (e), ऐ (ai), ओ (o), औ (au) these nine alphabets, twenty seven vowels of ‘Hrisv’ (short vowel), ‘Dirgha’ (long vowel) ‘Plut’ (of protracted sound vowel i.e. long drawn vowel), and again 25 consonants of the set/group of क (k), च (c), ट (t), त (ta), प (pa) and य (ya), र (ra), ल (la), व (va), श (sa), ष (sa), ह (ha) these eight consonants and further adding 0,00,000,0000 (i.e. a unit, the figure of 10 (or place of tens in numbers), hundred’s position in series, the figure of thousand (or place of thousand in series of numbers), thus forming syllabaries of 64 alphabets, wrote on her hand and told her that these alphabets may remain permanent/eternal by her name and these were sufficient for all languages, saying so blessed her.
Making his younger daughter Sundri seated on his right thigh wrote one zero (0) on her left palm with his right thumb and making two equal holes in it and paring precisely that each half, wrote 1, 2, 3, 4, 5, 6, 7, 8, 9, 0. Again joining them with one (1) it turns/becomes in its earlier zero form, and by mixing this hole with one and by go on adding that very digit by square method which digits are formed, they are sufficient for grasping the subtlest particle-atoms of the world. Thus the Lord taught Sundari devi to understand this learning in digits i.e. arithmetic. Accordingly at the time of dividing each learning, they (both his daughters) may not feel, even should not know that he gave one thing to one and the second to the second daughter, hence by explaining one and the same thing in different forms, he also satisfied both of them.
According to this method, Gommatdeva i.e. Bahubali had already transformed this digital alphabet in the form of Chakrabandh and transforming the sense of alphabet in the form of each sound and reverberation (resonance) of the entire group of words, composed entire word-canon in the form of scriptures. From that day it continued to come upto Kumudendu- Acharya, such has been mentioned in this. Apart from alphabetical script of the digital script, the divine spiritual instructions given by Vrashabhdeva after attainment of the Omniscience were precisely given in the Karnatak language. Kumudendu Acharya says that in this arithmetical language, all the 718 languages of the world are available in the scripture of digital language (Ank Bhasa shastra) which assimilates all of them within itself, such has been shown-
इरुव भूवलय दोळ्नूरु हदिगेन्दु। सरस भाषेगवतार ।4-177।
वरद वादेळ्नूरहदिनेन्दु भाषेय। सरमाले यागलुम् विद्या ।10-210।
साविर देंटु भाषघळिरलिवनेल्ल। पावन यह वीर वाणी।
काव धर्मान्कवु ओंबत्तागियगि। तावु एळ्नूरकं भाषे ।50-126।
इदरोळु हुदगिद हदनेन्दु भाषेय। पइगळ गुणिसुत बरुवर्।
वासवरेल्लाडुव दिव्य भाषेय। राशिय गणितदे कट्रि।।
आशाधर्मामृत कुम्भदोळडगिह। श्री शनेळ्नूरंक भाषे ।5-123।
मिक्किह एळ्नूरु कक्षर भाषेयम्। द् क्किय द्रव्यागमर।
तक्क ज्ञानव मुंदक़रियुव आशेय। चोक्क कन्नडद भूवलय ।5-175।
प्रकटित सर्व भाषाँक (6-14) घनवोदळ्नूर् हदिनेटु।
Presently existing languages (6-45-46) are seven hundred eighteen. Among them (9-147) seven hundreds are small languages and eighteen languages are great languages, totaling in all 718 (9-191). In this way Acharya Kumudendu has composed this world level verse in simple and matured style, conceiving 718 languages. Thus he composed his verse treatise in Karnatak language consisting of all languages. The ancient and modern both types of languages are conceived in it. Kumudendu Acharya has distributed the joint language in this way that Sanskrit, Maghdhi, Paisachi, Soorseni, five Apbhransa of different kinds and countries and, nine, (5-10-9-7-6) by multiplying these languages by three becomes eighteen (4+5X3=27-9X3=27, 2+7+2+7=18)
Karnataka, Magadh, Malav, Lat, gour, Gurjar, Pratyekatra, Mityastadesh, great language (5-9-7-9-8) has mentioned thus-
सर्व भाषामयी भाषा विश्व विद्यावSभासने।
त्रिषष्टि चतुपष्टिर्वा बनाट् शुभनते मताः।
प्राकृते संस्कृते चापि स्वयं प्रोक्ता स्वयंभुवः।
अकारादि हकारांन्तां शुद्धां मुक्तावलिमिव।
सर्व व्यंजन भेदेन द्विधा भेदमुपर्युर्षाम।
अयोगवाह पर्यन्तां सर्व विद्या सुसंगतांम्।
अयोगाक्षर संभूति नैक बीजाक्षरश्चितां।
समवादिदधत् ब्राह्मी मेघा विन्यति सुंदरी गणितं।
स्थानंक्रमैः सम्यक् दास्यत ततो भगवतो वक्तारः मिह श्रुताक्षरा।
चलिं, दभः इति व्यक्त सुमंगलौ सिद्ध मातृकं स भूवलय। (5, 1, 2, 2, 1, 4, 5)
Acharya Kumudendu has defined the language consisting of all languages in this Sanskrit-prose and mentioned the name of each of the 718 languages in the digital script. Brahmi, Pavan, Uparika, Varatika, Vajeed, Kharsayika, Prabhrataka, Uchchtarika, Pustika, Bhogvata, Vedantika, Niyantika, Ankganita, Gandharva, Adarsa, Maheshwari, Vama, Boldhi etc, thus mentioning such strange names these have been adequetly examined. Out of 718 languages Kumudendu has mentioned following languages- Prakrit in Karnataka, Sanskrit, Dravida, Andhra, Maharashtra, Malyalam, Gurjar, Ang, Kalinga, Kashmir, Kamboj, Hamir, Shaurseni, Bali, Tibbati, Vyanga, Bang, Brahmi, Vijardha, Padam, Vaidarva, Vaishali, Saurastra, Kharostri, Nirostra, Apbhransa, Paishachik, Raktaksar, Arista, Ardhmagdhi (5-10-28-10-58) apart from these there are more = Aras, Paras, Saraswat, Varas, Bas, Manava, Lat, Gour, Magadh, Vihar, Utkala, Kanyakubj, Varah, Vaismaran, Vedant, Chitrakar and Yaksa, Raksas, Hansa, Bhoot, Uia, Yav, Nani, Turki, Dramil, Saindhava, Malvania, Kiriya, Devnagri, Lad, Pasi, Amitrik, Chanikya, Mooldevi etc. (5-28-120). In this way binding all the coming language-scripts and this ninth digit ‘Sarmagya’ named bracket in only one digital script and incorporating all those languages within this bounded alphabet in the form of braket has left it mixing all in the sum total of Karmataka. Not any other great man has the capability of twining them in the form of verse conceiving all languages precisely in one digit, this I can say confidently.
The conventional history of Bhoovalaya treatise
Kumudendu Acharya has explained the tradition of the world-level Bhoovalaya verse in this way- That Adinath Tirthankara while distributing/partitioning his empire between Bharat and Bahubali, taught his both the daughters, Brahmi and Sundari, the alphabetical digit, the base of entire knowledge. It has already been explained above. Bharat did not expressed his inclination to learn the learning of arithmetical digit of alphabet which was taught to both the sisters.
Thoughtful Gommat deva
Arithmatical verse- ‘मनविट्टु कलितनाद कारणविंद, मनुमथ नेनिसिदे देव।।’
Being the learner of this alphabetical digit arithmetic with heart and mind, Bahubali is also named as ‘Manmath’, such appears from the above precept. Hence due to this Bahubali has been regarded as the creator of this Arithmatic. When eight kinds of war was fought between Bharat and Bahubali (in which Bharat was defeated), then Bahubali felt aversion to worldly desires owing to the disrespect shown by him towards his elder brother, then Bharat Chakravarti came to an understanding at the final stage of that aversion that now Bahubali shall become Muni and destroying karmas, will attain salvation, hence he should be asked to give some donation and asked him accordingly. Then owing to completely averse to worldly things, he did not possess any suitable thing to give him and no donation was suitable to be given except food donation, scripture (knowledge) donation, donation of medicine and donation of freedom from fear. But he thought that which donation of scripture was given to him by his father that very donation was appropriate to be given to his brother, other three donations were not fit to be given by him. Thinking so which ‘Alphabetical digit coordination method’ (Aksharank Samanvay Paddhati), the Adishwar Lord had instructed him and learnt from his both the sisters, just that sort he (Bahubali) instructed (Bharat), the entire knowledge incorporating it in all consisting language-knowledge, in the same way Acharya Kumudendu has narrated this reference in the nineteenth hymn of the first chapter of Bhoovalaya-
लावण्य दंग मेप्याद गोमट देव। आवागतन्न अण्णनिगे।
ईवाग चक्रबंधद कट्टिनोळ् कटि। दाविश्वकाव्य भूवलय।।
Thus from the above entire narration and according to the opinion of Kumudendu Acharya, the first composer of this Bhoovalaya is precisely Gomatdeva. When the asceticism i.e. averse from worldly desires occurred to Bahubali after the war then Bahubali read aloud (told) this verse full of the store of knowledge, to Bharat Chakravarti in an ‘Antarmuhurta’, that very verse, coming from the tradition, Kumudendu Acharya has composed it in the form of ‘Chakrabandha’ according to arithmetical method by digital point of view-
यशस्वति देविय मगळाद बाह्मीगे। असमान कर्मांटकद।
‘रिसियु’ नित्यवु अरत्नाल्कल्कक्षर। होसेद अंगय्य भूवलय।
करुणेयम् बहिरंग साम्राज्य लक्ष्मिय। अरुहनु कर्मांटकद।
सिरिमाताय्तंते ओंदरिंपेळिद। अरवत्नाल्क भवलय।।
‘धर्म ध्वज’ वदरोळु केतिदचक्र। निर्मलद्ष्टु हूगळम्।
सर्व मनदगल केवत्तोंटु सोन्नेय। धर्मद कालुलक्षगळे।।
आपाटियंक दोळ् ऐदुसाविर कूडे। श्रीपाद पद्म दंगदल।।
1-23-30-65-6
This ‘chakra’ 51025000 + 5000 = 51030000 becoming alphabet in the form of group of digit, has been composed according to the arithmetical method, Kumudendu Acharya has narrated precisely this verse clearly.
This tradition of Chakrabandh verse has remained regularly in vogue ab-aeterno from first Tirthankar to Mahaveer. When Omniscience manifested to Mahaveer then the resonant preaching in the form of ‘Omkar’- sound of Tirthankara Mahaveer began becoming in all languages form. That time the first Gandhar of Mahaveer was Indrabhuti Brahmin who was scholar of Karnataka, Sanskrit, Prakrit etc. many languages. Particularly he understanding the ‘Omkar sound’ (speech) of Mahaveer, caused Bhavyajeeva (who possess the capability to attain salvation) to understand the nature of reality. In the absence of Gandhar the speech of Mahaveer remained stopped for 66 days because as a rule, the speech of Tirthankara cannot reveal in the absence of Gandhara. Indrabhuti Gautam collecting and compiling all the speech of Lord Mahavira till his departure for the final emancipation (salvation) and made it known to King Shrenika and queen Chelna and all other people of the assembly (samavsaran). Afterwards which ‘Puran’ (a class of voluminous work dealing with biography of 63 ‘Shalaka purus’ (great personage) biographical treatises and literature of mythological tales and Jain texts dealing with fundamentals of Jain philosophy were composed as per the tradition of spiritual preceptors, they all were conformable with the speech (Omkar-sound-resonant preaching) of Lord Mahaveer, such has been displayed by Kumudendu Acharya in his Bhoovalaya treatise.
Acharya Kumudendu composed which verse in arithmetic with the ninth digit (Navmanka), has been displayed by the name of ‘Karansutra’ (auspicious and inauspicious karmic result of beings are called ‘Karan’). In this connection two-three hymns are quoted here-
नवकार मंतर दोळादिय सिद्धान्त। अवयवपूर्वेय ग्रन्थ।
दवतार दादिमद् ‘अ’ क्षरमङ्गल। नव अ अ अ अ अ अ अ अ अ।
वशगोंड ‘आदि मङ्गल प्राभृत’। रसद ‘अ’ अक्षरबदु तातु 1-2-13।
अष्ट कर्मगळम् निर्मूल माळ्प। शिष्टरोंरेद पूर्वेकाव्य 13-152।
तारूण्य होंदि ‘मङ्गल प्राभृत’ दारदंददे नवनमन 14-132।
परम मङ्गल प्राभृत वोलु अकं सरिगूडि बरुव भावेगळ्म्। 5-79।
वेघव हदिवल्लि पूर्व श्री दिव्यकरण सूत्रांक। 10-10, 11।
श्रीगुरू मङ्गल पाहुडदिम् पेळ्व। राग विराग सद् ग्रंथ। 10-105।
रस वस्तु पाहुड मंगलरूपद। असदृश वैभव भाषे 110-195।
Further, it has also been said in this Pahud treatise that (10-212) ‘Prabhrat’ of the ‘Jinendra’s speech’ (i.e. scripture) (100-237) going through auspicious mode (paryya) ‘Mangal Prabhrat of Rasa’ (11-143) is ‘Mangal Pahud’ (11-92-92) etc.
In this way this Bhoovalaya treatise was composed first of all precisely by Gautam Gandhar in 5 parts in the form of Dwadasang (12 parts of scriptures) and it was also mentioned in the form of ‘Mangal Pahuda’. Thus this treatise was composed precisely after some time of final emancipation of Lord Mahaveer. Now 2484 years have elapsed since the final emancipation of Lord Mahaveer. The Vikram Samvat starts after 470 years of the salvation of Lord Mahaveer. Although Gautam Buddha and Lord Mahaveer were contemporary. Exhortation of both used to take place in Rajgraha in two different places but neither a single context exists indicating that they might have met together nor there is any mention regarding it. But it is correct that Mahaveer attained salvation before Gautam Buddha. This discussion has no specific relation with the present subject in question. Hence the subject in hand is being considered here. Acharya Kumudendu has mentioned regarding the period of Lord Mahaveer in ‘Pranvayupurva’ in the following manner-
सत्विर दोंदुवरे वर्षगाळिंद। श्री वीर देव निम्बद।
पान सिद्धान्त चक्रेश्वर रागि। केवलिगळ परंपरेयिम्।3।
हूयिना युर्वेद दोळु महाव्रत मार्ग। काव्यदुसुखदायकवेन्।
दांव्यक्तदभ्युदय वनय्शरेयव। श्री व्यक्तदिंद सेबिसिद।4।
This world level verse was continuously coming (remained in existence) for 1500 years since the salvation of Lord Mahaveer through tradition of spiritual preceptors. On that very basis there is no objection to accept this composition of Kumudendu to have been written in the ninth century of Vikram Samvat.
Metres of Bhoovalaya
Different metres were being used in the composition of verse in the time of Kumudendu Acharya in Bharat. Kumudendu Acharya composed the above work amalgamating southern and northern categories for his disciple Amoghvarsa with several examples and also mixing new and old Kanhri languages for the beneficence of adults and ignorants because usage of old Kanhri was in vogue almost in all places of northern India and precisely it was already in vogue in southern states. At the time of composing this treatise, Kumudendu Acharya certainly had kept in mind that not anyone might be distressed from it (i.e. may not feel difficulty in understanding it) hence he has tried to make it as of consisting all languages. Hence effort has been made precisely, to conceive all languages in the above two Karnataka languages. Regarding Kanhri hymns the composer of the treatise has exhibited that on the insistence of people at large he has attempted to compose this treatise in Karnataka language and for making it easy he has written it in ‘Sangatya’ metre with rhythm and word-order and has mentioned hymn no. 123-124.
लिपियु कर्माटक वागलेवेकेंद। सुपवित्र दारिय तोरि।
मपताळ् लयगूडि ‘दार साविर सूत्र’। दुपसवहार सूत्रदलि।।
वरद वागिसि अतिसरल बनागि गौतममरिंद हरिसि।
सर्वाकदरवत्नाल्कक्षरदिंद। सारि श्लोक ‘आरूलक्षराळोळ्’।।
Kumudendu Acharya composed this treatise in six thousands precepts and six lakhs hyms combined with rhythm and tune, such he himself has mentioned. Nriptung the disciple of Kumudendu in his ‘Kavirajmarga’ and earlier poets in their poems have used ‘Chattan Vedanda’ method. Kumudendu has advanced his verse-treatise further mixing ‘Chattan Vedanda’ and narrated path of earlier poets. Kumudendu using ‘Chattan’ in four parts and ‘Vedanda’ from the 12th chapter upto its end has composed (his verse) in the form of Dandak-prose literature (Dandaka is a type of metre consisting of long lines) thereby exhibited Karnataka metre even earlier than Nriptunga.
This verse being ‘Chattan’ there remained no necessity of defining it specifically. A little illustration is being given here-
“स्वस्ति श्रीमद् रामराज गुरु भूमंडलाचार्य एकत्वभावनाभावितरुंउभय नय समग्ररुं गुप्तरुं चतुष्कषायं रहितरुं पंचव्रत समय तरुं सप्त तत्व सरोजिनी राजहंसरुं अष्टमद भजतरुं नव विधाबालब्रह्मचर्यालंकृतरूं दशधर्म समेत द्वादश द्वादशांग श्रुतरूं पारावारूं चतुर्दश पूर्वादिगुरुरजं”
Verse bound composition of Bhoovalaya
Kumudendu has not written his verse/poetry in alphabets but has written in digits by multiplying calculating through arithmetical method, like the ‘Mangal Prabhrta’ as told earlier by Gautam Gandhara, like this very Pahud treatise written by Acharya Vishwasen, like composition written by Bhootbali Acharya in Kannad, Sanskrit, Prakrit taking base of all the literature of them, or like ‘Kakshaput’ arithmetic written by Nagarjun Acharya. Like earlier Acharyas he has composed the treatise in 46 minutes, such has been mentioned. This poetry consisting of all languages has been written in an easy language keeping in view the convenience of all people adults (of matured wisdom) and ignorants. Implying the seven hundred eighteen languages in poetry/verse. It is adorned somewhere with Chakrabandha and somewhere with marked poetry. Earlier, it was published in the original Kanhri language. In the verses (stanza of poem) printed in that language there is categorized poetry. If taking first alphabets of Kannad poetry coming in that categorized poetry, are read from top to bottom then the ‘Prakrit’ poetry emanates and on reading in the middle from top to bottom after 27 alphabets then the Sanskrit poetry emanates. In this way if versified poetry is studied by different methods then many languages emanate in many bonds, such is the assertion of Kumudendu Acharya.
Names of the Bonds (Bandha)
This poetry has been composed in Chakrabandha, hansbandha, Padam, Suddha, Navmankbandha, Varpadambandha, Mahapadam, Dvipasagar, Pallva, Ambubandha, Saras, Salaka, Shreni, Ank, Lok, Romkoop, Kraunch Mayur, Somatitadibandha, Kam ke Padambandha, Nakha, Chakrabandha, Simatita Ganitbandha etc. Further ahead this poetry coming out from digit-bond (Ankabandha) all subjects could be sprouted in sequence. There is no necessity of pointing out the religious view of Acharya Kumudendu more than this. In this Bhoovalaya the ‘Vedanda’ (a kind of metre) has been composed in prose consisting of logic- grammer, Metre-nighantu, Kavyadhar-Alankar (figure of speech), Natkastang (eight-part drama), arithmetic, profound eminent person endowed with astrological-scriptural learnings etc. like river, leading in all the three worlds free from pride-opposition, Acharya of the entire land logical chakravarti, knower of hundreds learnings facing four directions, six-logics ‘vinoder’, logician, expert in spiritual argument, follower of Vaisesika doctrine (a kind of Indian philosophy), scriptural language Mimansak i.e. investigator Vidyadhara, endowed with Samudrik Bhoovalaya i.e. Bhoovalaya interpreting the marks of the body (fortune-telling-palmstry etc.)
In this way ‘Bedand’ has been composed in prose. Describing in this way he expatiated himself as well as his own erudition. Hence somebody has also mentioned him as equanimous, a scholar of entire knowledge. Acharya Kumudendu did not rebuffed purports of other doctrines in the pride of Jain doctrines-precepts. Considering other doctrines as the treasure of ancestors, until many days, described that literature proving it by a comparative method of a type and while comparing no place has been given for roughness-dissimilarity. But considering unfathomable proofs and using the contribution of those doctrines, he described the nature of reality alone and except this he did not utter anything in the form of allegation-anti allegation and keeping in view the reversal which may happen sooner or later, that has been threaded in the thread of pure wisdom like the pearl.
As far as I know, this poetry is very ancient and not any such matchless poetry has been found in Indian literature uptil now. Therefore, there is no objection in telling that it is a great poetry of all.
The original treatise
The original hand written copy of this treatise by Kumudendu Acharya himself is not available and by whom this available copy has been written, is also not known. Not also any other contemporary, earlier or subsequent poet has mentioned it on the basis of which its specific appraisal would have been given here. Only owing to mention of his name in his own work the Bhoovalaya treatise, his name came to light anew. Hence learneds can get special information and material about importance of contemporary history, the writer and his works (treatise) if they study the quantum of treatises and the system of governance of that period from all angles. But who have studied this treatise and caused it to be studied by others, they alone have understood and experienced its importance. A lady named Mallikabbe had given/offered a copy of this doctrinal treatise getting it copied along with ‘Dhaval’, ‘Jai Dhaval’, ‘Maha Dhaval’, ‘Vijaya Dhaval’ and ‘Atisaya Dhaval’ etc. treatises similar to Bhoovalaya to Maghnandacharya, the disciple of Shri Gunbhadracharya like Mother Kabbe, Jain Brahmin poets of Priya pattan and fosterer of Kannad, kaviratna and like fosterer of ‘Dan chintamani’, Atimavve (Chinta mani is a kind of jewel which grants desired things here it is a name of book), for the destruction of her knowledge-obscuring karma, such is known by the encomium (praise) of the last copy of the treatise.
I possess a copy of ‘Dan chintamani’ got copied by Mallikabbe. It appears that this lady propagated it, reading and reflecting it herself and made others to read it. Devappa of Priya pattan, reading and being influenced by it, has mentioned this treatise in his ‘Kumudendu shataka’ in the following couplets-
विदितविमलनानासत्कलान् सिद्ध मूर्तिहि।
‘य. ल भू’ कुमुदेंदो राजवट् राजतेजम्।।
इमाम्यलवलेककुमुदींदुप्रशस्ताम्।
कथाम् विश् रूण्वंतिते मानवाश्च।।
सुनय श्रेयसभसंख्यमश्नन्ति भद्रम।
शुभम मंगलम त्वस्तु चास्याह कथावाह ।।102।।
I do not know much about Devappa to give further details about him. Whatever Devappa described about Kumudendu Muni (य ल भू य ल वलय) in the above mentioned couplets, it appears from it that Acharya Kumudendu was a great gifted and brilliant high-souled person and his this treatise is classified into three categories the beginning, the middle part and the conclusion (end) which carries the importance of ‘Prakrit’ and ‘Sanskrit’. If the categories of all the three viz. Sanskrit, Prakrit and Kanhri, are considered carefully then it will be known that य ल व भू and यल वलय’are, infact, the names of those whose description is contained in the couplets or it appears that Devappa was knowing the names of mother and father of Kumudendu Acharya as well as also his place of birth as his period was close to the period of Kumudendu. According to Devappa or as told by Kumudendu, it was situated on the peak of ‘Nandgiri’ mountain, such is ascertained. The village narrated by this high-souled ascetic is near the Nandi station on the way Chikka Vallapur, Bangloor. This very village and this very region is understood as the place of birth of Kumudendu. Thinking still more is going on about the place of birth of Kumudendu.
Availability of the treatise
The great treatise Bhoovalaya, the tenth wonder of the world was seen some 20 years back by adorable Shri 108 Deshbhoosan ji Maharaj at Banglore in the house of Shri Allappa ji shastri after his food-intake in his house but because at that time it was lettered in digits, Maharaj shri could not grasp the subject of this treatise, hence he could not perceive the importance of this great treatise.
Shri Alappa ji Shastri got this treatise from the house of his father-in-law. It could not be traced out as to where from and how his father-in-law got this treatise.
There is one ‘Kanhri’ couplet in the Bhoovalaya treatise. According to that couplet Shri Mallikavve, the wife of Seth Shrishen had offered ‘Dhaval’, ‘Jai Dhaval’, Mahadhavala, Atisaya Dhaval and the great treatise Bhoovalaya to Shri Maghnandi Acharya by getting them copied/written. ‘Dhaval, Jai dhaval, Maha dhaval’ are presently placed in the ‘Siddhant Vasti Bhandar’ (library) of ‘Moor vidri’. Possibly Bhoovalaya treatise must also be ensconced in that library of great Jain texts dealing with fundamentals of Jaina philosophy. How this treatise reached the house of the father-in-law of Shri Alappa Shastri, this secret is still unknown, so it be.
Shri Alaappa Shastri wrote it in ‘Kanhri’ script by converting the digits of Bhoovalaya into the form of alphabets by his sharp intellect devoting great labour, then its importance came to light before the people. Had this treatise remained only in the ‘Kanhri’ script then it would have known only in southern province, the people of the remaining India would have remained precisely unawared of it. Acharya shri Deshbhoosan ji Maharaj who had great interest in the amelioration of ancient literature, who had brought many oriental treatises into light, a perennial cognitive conscious, Vidyalankar (who had yearning for learning) translated first fourteen preliminary chapters of this Bhoovalaya treatise in Hindi with the help of Alappa Shastri and was inspired to get them published in Devanagri script, as a result of which fourteen chapters of ‘Mangal Prabhrit’ of Bhoovalaya came before the public.
When this wonderful treatise was presented to his majesty President of India, Dr. Rajendra Prasad ji by Shri Alappa ji Shastri, then his majesty President declared the Bhoovalaya as national property for keeping it safe. The state of Mysore granted twelve thousands rupees to Shri Alappa ji Shastri for converting this treatise in English digits. This treatise is now being made in the form of English digits with that financial aid.
Shri Alappa ji passed away last month in Delhi due to misfortune of Jain community and of India as well, hence now a great difficulty/hindrance has arisen in the publication of forth-coming part of this treatise. If co-operation of the government of India is made available to adorable Acharya shri, then the forthcoming preliminary parts of this treatise could be published.
Introducing Bhoovalaya
Shri Kumudendu Acharya has incorporated ‘Geeta’ consisting of five languages in his Bhoovalaya treatise, he has started from the first alphabet of hymns taking from top to bottom whose first precept (Gatha) is- ‘अट्ठवियकम्म वियला’ etc. Afterwards like his ‘Navmank’ (ninth digit) method-
भूवलय सिद्धांतद्इघतेळु। तावेल्लवनु होंदिसिरूव।।
श्री वीरवाणियोळ्वह “इ”, मंगलकाव्य। ई विश्वदूर्ध्वलोकदलि।।
It contains ‘Chakrabandha’ consisting of 27 squares (Parenthesis) amids those squares the middle digit is ‘1’ whose indicator alphabet is ‘अ’. Counting from below of ‘अ’ (lowest of all) comes 15, 15 includes number/figure 58 whose indicator alphabet is ‘ष’, coming on the oblique square (cross-wise square) from that above there is figure 38 whose indicator alphabet is ‘ट्’. Ahead of that square comes 1 whose indicator alphabet is ‘अ’. Connecting these three alphabets becomes अष्ट (i.e. eight).
This ‘Chakra bandha’ is shown below
It is the first ‘Chakrabandha’, according to it the digits happen to come in this are read in the form of alphabets. In this way ‘Kanhri’ hymns are manifested and on reading first alphabets of those Kanhri hymns in the direction towards below, the precepts of Prakrit language are manifested such as ‘अट्ठवियकम्मवियला’ etc. On reading the alphabets placed in the middle of those Kanhri hymns in the direction towards below, the Sanskrit hymn is manifested such as “ओकारं बिन्दुसंयुक्तं” etc. which is invocatory prologue of Bhoovalaya.
Which ‘Geeta’ Shri Kumudendu Acharya has written in his Bhoovalaya has not been taken from the modern Mahabharat but from the ancient ‘Bharat Jayakhyana’ named poetry. That ‘Geeta’ has been manifested through the ‘Chakrabandha’ method. He has quoted the ‘Geeta verse’ contained in almost disappeared ‘Jayakhyana-poetry’. The last hymn of that ‘Geeta’ is as follows-
चिदानन्दघने कृष्णेनोक्ता स्वमुखतोSर्जुनम्।
वेदत्रयी परानन्दतत्त्वार्थऋषिमण्डलम्।।
In this way finishing the first chapter, started second chapter in the following form-
अथ व्यासमुनीन्द्रोपदिष्ट जयाख्यानान्तर्गत गीता द्वितीयोSध्याय
i.e. Thus the second chapter of Geeta contained in Jayakhyan as propounded by Vyas Muni is being started.
Beginning with this prose, Gommateshwar taught which to Bharat Chakravarty and Lord Neminath narrated to Krishna and that very Geeta was told by Krishna to Arjuna in Sanskrit language, Gommateshwar told it to Bharat in the ‘Prakrit’ language and Lord Neminath told it to Krishna in ‘Magdhi’ language whose preliminary couplet is as given below.
तित्थणबोधमायगमे etc. (chapter ‘अ’, 16th row)
In ‘Nemigeeta’ Lord Neminath has given spiritual instructions to Krishna incorporating Tatvarth-sutra, Risimandala including ‘Riddhi Mantra’ (Incantation of prosperity).
Acharya Kumudendu describes the tale as narrated from vyas upto Gautam Gandhara to Shrenika-
In this way Kumudendu Acharya has imparted religious/spiritual instructions of the conventional Geeta, to King Amoghvarsa assuming him as Arjuna and personifying himself as Krishna. Thus this Bhoovalaya treatise is great treatise of the world.
Shri Kumudendu Acharya himself manifests its details-
धर्मध्वजवदरोळु केत्तिदचक्र। निर्मल दष्टु हूगलम।।
स्वर्मनदलगय्वत्तोंदुसोन्नेयु। धर्मदकालुलक्षगळ।।
आपाटियन्कदोंळ् ऐदुसादिर कूडे। श्री पादपद्म दंगदल।।
सपि अरूपिया ओम् दरोळ व। श्री पद् घतिय भूवलय।।
Thus, the digits and alphabets ‘Padamdal’ of Bhoovalaya are 51025000, by adding 5000 in it, the entire number of alphabets of Bhoovalaya comes out. Thus the total of the figure 51030000 is in the form of digit nine (5+1+0+3+0+0+0+0=9). This sum total has been divided by ninth-digit arithmetic (Navmank Ganita) initially taking digit ninth (beginning with digit 9).
करूणेर्योबत्तिप्पत्तेळु।। अरूहण गुणवेम् त्तोम दु।।
सिरि एळ् नूरिप्प त्तोम् तम्।। वण्व महान् कगळारू।।
एरडने कमल हन्नेरडू।। करविडि वेळन्न्द कुंभ।।
अरूहन वाणा। ओम् बत्तू।। परिपूर्ण नवदंक करग।।
सिरि सिद्धम् नमह ओम् हत्तु 1, 68, 76।।
Thus establishing the syllabary-digit-sum total of alphabets and the number 9-27-81-729 and making full square of 6-12-7-9 has been divided. 9×9=81×81=779×9=7011, thus in this figure/number the first chapter is completed. In this way the non-tautologous (non-repeated) digit nine is made measuring this sum-total (7+0+1+1=9).
नवकार मंत्तर दोळादिय सिद्धान्त।
अवयव पूर्वेय ग् रन्थ।।
दवत्तारादि मदक्षर मंगल।
नव अ अ अ अ अ अ अ अ अ।।
Chapter 2
Like the ‘Karansutra’ arithmetical alphabet digit, joining “है” and ‘क’ becomes 28+60=88. By joining this 88 mutually becomes 8+8=16 by joining both digits of 16 i.e. 1+6=7. Beginning this poetry from the quotient obtained by dividing these seven fractions by 9 being transformed in seven-fold predications (Saptabhang) this ‘Sarmaggi’ square (table of chakra) has been given. Here by dividing the regular digit (i.e. Anulom digit means giving primary importance to the general predication and secondary to specific, is Anulom order) by 54 alphabets which subtle-point of the sum total digits has been ascertained is in the form of sum total digit 86. (chapter 2 hymn 12). Classifying this Anulom sum by the total sum of that very 54 digit square of the Pritilom order (i.e. contrary order giving primary preference to specific predication and secondary to general) into seventy one (71) (chapter 2-17) sum total digit and joining these digits among themselves, dividing them among themselves the sum total of 25 has been ascertained. This poetry-digit has been composed like threading the pearls in the garland classifying these digits into 35 half-fractions, breaking them among themselves by the multiplication table of 2, 3, 4, 5, 6, 7, 8 and 9. Owing to the incorrect cube of the 9th digit of this arithmetical square, ofcourse the answer too becomes incorrect, but Kumudendu Acharya says that you should not consider it incorrect. It would be made clear later on.
The arithmetic as told by Kumudendu Acharya is not understandable by us. The composer of the treatise has himself made it clear later on in the form of digital sum with detailed deliberations.
Chapter 3
Kumudendu Acharya has described the entire manner of the skillfulness of his poetry in this chapter.
Chapter 4
In this chapter, the medicinal extract, the method of preparing extract gem (Rasmani), method of preparing gold and the subject of refining iron has been elaborately described after describing the entire poetry-treatise and the tradition of his spiritual teachers. Several names of flowers have been mentioned for refining the medicinal extract (savour). Describing the pure form of extract gem, the importance of medical science (Vaidya shastra i.e. the Ayurvedic branch of knowledge) has been elaborately explained to readers, in this ‘A’ part of this chapter.
Chapter 5
In this chapter enumerating the names of several countries’ languages, names of countries and names of digits, the classification of languages has been examined.
Chapter 6
In this chapter describing the duality (dualistic doctrine Dwet), monistic (Adwet) doctrine, the nature of reality of the object has been established comparing with our doctrine of manifold predications (Anekant Tattva). Acharya Kumudendu has mainly described four things-
दोषगळ् हदिनेन्टु मशियार्वाग। ईशरोळ् भेद तोरूवदु।।
राशिरत्नत्रय दाशेय जनरिगे। दोष वळिववुद्धि वहुदु।।
सहावास संसार वागियोकाल। महियकळ्तलेये तोरूवटु।।
महणाण वरणीय दोष वदळियलु। बहु सुखविहमोक्ष वहुटु।।
विषहर वागलु चैतन्य बप्पन्ते। रससिद्धि अमृतवशक्ति।।
यशवागे एकान्त हरकटु केट्टोडे। वशवप्पनन्तु शुद्धात्म।।
रतुनत्रयदे आदियद्वैत। द्वितियवु द्व तदेम्बंक।।
तृतीयदोळ नेकांतळवेने द्वैतुद्वैतव। हितदिसाधिसिद्ध जैनांक।।
हिरियत्व विदुमूरू। सरमालेय। अरहंत हारदरत्नम्।।
सरफणियन्ते मूरर मूर ओंबत्त। परिपूर्णमूरारूमूरू।। (77-81)
Chapter 7
In this describing species of 24 essential flowers for preparing medicinal extract and referring one emblem lion out of eight auspicious emblems of Lord Arihant, has described grandeur of faces of four lions.
Chapter 8
In this part the science of arithmetic has been explained comparing the zodiac sign with all the symbols, shape of thrones, appearance and the nature of all Tirthankaras, their age, names etc. in the question-answer form along with clearing up doubts.
Chapter 9
In this, description of some essential flowers for preparing medicinal extract and the divine speech of accomplished souls have been narrated to Karnatak King Amoghvarsa and introducing his family pedigree the fame of Bhoovalaya of Acharya Bhootvali has been described.
Chapter 10
In this, engaging Karnataka Jain people in study and the ninth digit method (Navmank Paddhati) of क ट प and eighth-digit method (Astak-Paddhati of) ‘य’ has been explained, according to this square method by multiplying ‘Anulom’ (regular order) and ‘Pritilom’ (reverse order) together with each other like the parts 2, 3, 4, 5, 6, 7, 8 this very poetry treatise emerges in all languages. Here breaking 9 in two parts figuring all languages by this method of arithmetic, their method has been elaborately explained. In this way joining old and new Kanhri together this poetry has been composed in mixed language.
Chapter 11
In this part alphabets, digits as taught by Rishabhdeva to his daughter Brahmi have been written. The ‘Metegoot shalaka’ method for measuring ‘Kora-kori’ (crores of crore) has been explained.
Chapter 12
In this the trees under which all the 24 Tirthankaras have attained the position of Arihant i.e. Omniscience, the names of those Ashoka trees and their antiquity have been mentioned.
Chapter 13
In this the importance of the life-routine of great personage Tirthankaras, their conduct of austerity, their learning and the merit of their erudition has been promulgated. In addition to this, the tradition of spiritual teachers-preceptor after Lord Mahavir and mentioning/referring Dharsenacharya the tradition of ‘Sengana’ has been described.
Chapter 14
In this chapter describing the method of ‘Puspayurveda’ i.e. science of extracting medicinal savour from flowers and afterwards the ‘Rasvidya’ (the learning of extracting medicinal savour from plants and flowers) which was here before unknown to and not being understood by Charak etc. experts in Ayurved medicines has been defined along with ‘Puspayurveda’ supported and flourished by Jindutta, Devendrayati, Amogvarsa, Samantbhadracharya etc.
Chapter 15
In this, the grandeur of Bhawanvasi celestial beings has been narrated and elements seen possible and impossible have been elaborately expatiated.
Chapter 16
The description of the preface/prologue of ‘Bhagvadgeeta’ in both the categories and within that very preface, the ‘Tatvarth-sutra’ has been elaborately expatiated. And prior to the beginning of ‘Bhagvadgeeta’, the ‘Mangal kalash’ (an auspicious pitcher) has been worshipped, then the Geeta has been elaborated. And imagining himself in the appearance of Krishna and Arjuna the earlier Geeta and Tatvarthsutra has been appraised. Further the preamble of ‘Kannad Geeta’ has been mentioned for Amogvarsa.
Chapter 17
In this narrating in extremely handsome manner the tradition of Bhagvad geeta, the origin of particular Brahmin class, the method of sacred thread ceremony (Upnayan) of Gommatdeva (Bahubali), of Vanvasi country and the subject of King Dandaka, the King Samudravijaya and the method of sacred thread ceremony of Balkrishna (i.e. the child Krishna) has been mentioned in the form of telling tale. Along with the method of sacred thread ceremony of Balbhadra, Narayan etc., the metaphysics of Geeta has been rightly mentioned. This ‘Bhagvad Geeta’ in the form of Bhoovalaya consisting of all languages i.e. in five languages form viz. Prakrit, Sanskrit, Ardh (half) Magdhi etc. has been elucidated by Kumudendu Acharya assuming himself in appearance of Krishna.
Chapter 18
In this, mentioning remaining tradition of ‘Bhagvad Geeta’ in the original category, the hymns of ‘Bhagvad Geeta’ within ‘Jayakhyan’ have been elucidated in the prior category in Karnataka language. And the ‘Ankchakra’ (i.e. the digital wheel) of ‘Bhagvad Geeta’ has been narrated. And explaining the ‘Ankchakra’ and correcting the ‘Anulom’, even-odd etc. numbers as mentioned in the second chapter, detailed discussion of further portion of Geeta has been given. In this category, the atomic science as told by Krishna to Arjuna is described.
Chapter 19-20
In this the straight meaning of ‘Bhagvad Geeta’, of ‘Ankvigyan’ (digital science) in the second category of the wonderful subject of atomic science etc. has been described with the digital learnings from top to bottom. In this way there are 20 chapters in this division. Out of them 14 chapters have been published/printed. The remaining six chapters are yet to be published. The reason for their absence here is the sudden demise of Pandit Alappa Shastri, the original translator due to which obstruction has been created in this work. In the absence of any other suitable assistant the completion of this work could not remain possible until the end of my ‘Chaturmas’. Even then I have tried to complete the translation work from the 11th chapter to the 14th chapter working day and night upon it.
Further on getting opportunity and on the availability of facility for staying at any one particular place etc. an attempt will be made to complete it. Learneds should take benefit/advantage of this by studying this treatise. Because of the profoundness of the expounded digital subject of the treatise, it is difficult for the populace to enter into it i.e. to understand it easily.
The order of reading ‘Chakrabandha
The Chakra and the poetry starts by breaking one zero (dot) of this ‘ओ’ (O) chapter of Geeta and turning it a bit. No where this poetry is traced out in digit because the Bhoovalaya treatise is not written in alphabets. Had it been in alphabets it would have been read some where or the other. Hence there is not even one single alphabet in it to read. If we go on reading from left to right then the calculation of those digits comes to 27. Similarly, on going on reading from top to bottom then precisely the number of 27 digits would come. In this way on reading from around all the four sides the same number of 27 digit is obtained 27×27 becomes = 729. In the bracket (square) of this very four-cornered Chakra the quotient 64 obtained multiplying by multiples of 64 alphabets has precisely been written 64. Leaving 13 digits each of both the sides out of those 27 digits the form of above one digit is ‘अ’. Steping down from above ‘अ’ and leaving last eight digits come on the digit 58 on the side direction the meaning of this digit is ‘ष’. Forwarding ahead from these in the upper corner of the second line comes 38. The meaning of this digit is ‘ट’. Again after 58 there comes one digit. The meaning of 60 is ‘ह’ and the meaning of one is ‘अ’. Similarly go upto the last (60) according to the method of this very sequence and returning from 60 come on the two (2) of the first middle line of the transverse line. The meaning of 2 became ‘आ’. Joining ‘आ’ with the ‘ह’ became ‘हा’. In this way by go on climbing above we reach on the digit one (1) because that digit one becomes transverse. Again steping downward one square from there go above on 47 and afterwards from there go transverse and then reaching on the ascertained square go on following the same trend according to the above mentioned sequence then all the digits can be read within one hour. All the languages are included in these 64 alphabets but not being it in the traditional form, the people used to feel difficulty in reading it but after hard effort of two years for reading it, the way has become easy for all and all people can easily read it with a little effort and can know all languages. Just as if this language is taught to small children then they can read it atleast in the six months i.e. out of 1-2-3-4-5-6-7-8-9-0, out of these breaking the zero the ninth digit (Nav anka) has been originated. In this way if thought from metaphysical point of view then the gist of the entire speech (preachings) of Lord Mahavira is available in 718 languages because all the languages of the world are conceived in the ninth digit (Nav Anka) and the digit nine implies ‘Nav Devta’ i.e. nine reverential and supreme deities according to Jain philosophy. (Arihant, Siddha, Acharya, Upadhyaya, Sarvasadhoo, Jainism, Jain scriptures/canons, Jina idol and Jina temples) and is in the cherished auspicious form.
Just as Shri Krishna opened his mouth then the Yashoda thought it to be the cosmos, all the three worlds are conceived in that, Similarly the entire world is conceived within ‘Navmanka’. Because of all languages being absorbed in it, this treatise is named as Bhoovalaya which indicates its true name.
In the first digital alphabet there is the form of eight great auspicious emblems (Maha pratiharya) of the hymn of Kanhri language. And on reading downwards from ‘अ’ (A) then there emerges the precept ‘अट्ठवियकम्म वियला’ of the Prakrit language. In the middle of that Kanhri hymn there comes ओ (O) on reading downwards from that, the Sanskrit poetry emerges. In this way on reading upto 15 chapters, the ‘Bhagvad Geeta’ emerges going constantly downwards. In this way nothing is known in this unfathomable ocean of digits but dexterous/skilled person draw out valuable handsome pearls by diving deep in that. Similarly on immersing by sufficiently right practice in that digital ocean, many treatises permeated all around with different languages are traced out easily. Just as dexterous person bring out genuine and imitated/spurious pearls by taking deep dip in the ocean and afterwards keep genuine pearls by sorting out among them, Similarly studying/deeply Bhagvad Geeta ‘ओम् इत्येकाक्षरं ब्रह्म’ अट्ठवियकम्म वियला सरस्वती स्तोत्र- चन्द्रार्ककोटि and तत्त्वार्थसूत्र etc. (Om Ityekaksaram Brahma’ ‘Attaviyakamam viyla’ ‘Saraswati stotra’- Chandrakakoti and Tattvartha sutra) etc. languages emerge. On knowing many other languages by immersing further more, all about them will be made clear/informed in future because up to this time translation of only 14 chapters could be completed. Translation of the remaining portion of the treatise shall be presented afterwards. Readers should try to understand from that.
