ANANTHANATHA PURANAM

 

1.       ಅನಂತನಾಥಪುರಾಣಂ (Ananthanatha Puranam)

2.      anantanAthapurANam

3.      The Venerated History of Ananthanatha Teerthankara

4.      Janna

5.      1230 A.D.

6.      Halebeedu (Hassan District)

7.      Jaina

8.      Hoysala Ballala and Narasimha Ballala

9.      Kavichakravarthy

10. Poetry

11. Kanda Padyas (Exclusively)

12. Palm leaf and Paper

13. 1930

14. Srinivasachar D. and Rangaswamy Iyengar

15. Mysore University, Mysore

16. 1. Deveerappa H.and Padmanabha Sharma M.C., 1972,  Mysore University, Mysore

17.             The popularity and the critical acclaim acheived by ‘Yashodharacharitehas marginalisedAnanthanathapurana’ to a great extent. This work composed in the Champu style is a biographical account of Ananthanatha or Anantha Jina, the 14th teerthankara. This contains fourteen chapters consisting of approximately 1400 poems. This is an expansion of about ninety poems in the Sanskrit work ‘Uttara Purana’ written by Gunabhadracharya. Unlike other epics in Kannada based on the lives of teerthankarasAnanthanathapurana’ is confined to just two previous incarnations of Ananthanatha. (Bhavavali) The lives of Suprabha, Purushottama, Madhu Kaithabha and Padmaratha are among various characters that appear in this delineation.‘Ananthanathapurana’ is a full fledged epic following all the stipualtions that were laid down for that genre. The eighteen mandatory descriptions (Ashtadasha Varnane) and the customary descriptions expected in a Jaina classic such as the conception, birth and the renunciation of the teerthankara make their appearance with out fail. But all of them are very mechanical and shackled by religious considerations. Even the descriptions of nature follow a set pattern.HoweverAnanthanathapurana’ contains a water shed in the story of Chandashasana, Sunanda and Vasushena. This of course is a love story that was doomed to fail because of its illicit dimension. Chandashasana’s genuine love for Sunanda the queen of Vasushena has a magnetic appeal for the modern reader. None of the main characters can be faulted for their decisions and actions. However one is left with a sense of despair at the death of Chandashasana and Sunanda. Vasushena’s decision to take up sanyasa looks mild in comparision. This is a love story narrated with lots of power and passion even though it does not fit in to the general pattern of the whole epic. If one remembers the fact that Janna unfolds another facet of these issues in ‘yashodharacharite’, his major themes become explicit. ‘Ananthanathapurana’ is replete with Sanskrit vocabulary and compound words. This makes reading of the text rather tough and un productive. Actually this work has little to speak for itself but for the tragic tale of Chandashasana.  

18. References: Kavyasameekshe T.N. Srikantaiah, 1947, Kavyalaya, Mysore.

19. Translations: Janna, Sharma T.R.S., Ancient Indian Literature volume 1, Ed. T.R.S. Sharma, Sahitya Academy, 2000

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