Jain Journal 1996 10

Author(s): Jain Bhawan Publication
Publisher: Jain Bhawan Publication
Catalog link: https://jainqq.org/explore/520124/1

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VOL. XXXI ISSN 0021-4043 A QUARTERLY JAINOLOGY No. 2 OCTOBER ON 1996 JAIN Journal // jaina bhavana // JAIN BHAWAN PUBLICATION

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Thus Spake Lord Mahavira Dr Bhani Ram Verma Contents Umasvati in Epigraphical and Literary Tradition M.A. Dhaky News on Jainism around the world 45 47 66

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Vol. XXXI JAIN JOURNAL No. 2 October THUS SPAKE LORD MAHAVIRA Dr BHANI RAM VERMA As Earth is the Stand-point of all beings Peace is to the Enlightened. Whatever thou wishest unto thyself, so unto all living beings. This is the Path of the Enlightened. Those who say they alone are right And all the others and their ways are wrong Are out of the Way of the Blessed Ones. I beg forgiveness from all beings I extend forgiveness unto them all I am the friend of all living beings I am enemy of none whosoever. As the ocean is the abode of all water beings so truth is the abode of all virtues. Millions of hills of silver and gold Can't quench the thirst of avarice. Cravings are like the boundless sky. Those who control their senses Those who master their passions Those who meditate on the Self Are the true Followers of the Path. My self is the river Styx of Hell My self is the sword-bladed tree My self is the Wish-granting Cow My self is the Garden of Paradise. 1996

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46 JAIN JOURNAL: Vol-XXXI, No. 2 October 1996 My self is the doer or undoer of All its weal and woes. Doing good makes you your best friend Doing evil your worse enemy. The one who has won his own self Is better than a victor of thousand battles. Fight against the evils within And not with other living beings Your true victory is over your self The door to eternal happiness. Never think these four small The borrowed money, wounds, fire and passions, For they grow being with passing of time. By shaving head you are not a Saint By uttering OM not true Brahmin By dwelling in jungle not a Hermit By bark-clothes not an Ascetic. Equanimity makes one a Saint Victory of passions a Brahmin Enlightenement a true Hermit Austerity a true Ascetic. Control over passions is the true fasting -the fasting of the heart. Therefore the Saints, although they eat, Are always on the fast forever. Defiance unto world is defiance unto self Regard unto others is true self-regard. Dharma alone is the true shelter, abode, Stand-point, the island in the midst of the boundless ocean of existence.

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UMASVATI IN EPIGRAPHICAL AND LITERARY TRADITION M.A. DHAKY Umasvati is remembered, revered, and reckoned as one of the more luminous, and hence more celebrated, figures of the Nirgranthadarsana. In our times, he is recognized as an author who pioneered writing in Samskrta, in lieu of the canonical Ardhamagadhi, for doctrinal, dogmatical, and didactical teachings in the sutra style akin to the Yogasutra of Patanjali. He apparently came on the scene at the close of the age of the agamas (Dixit 1971) and indeed soon after the end of the main monastic lines of the eminent early pontiffs. With Umasvati also began the era of systematic organization and clearer conceptualization of the knowledge scattered through, and cast in, the archaic modes and moulds of the ancient scared sruta books of Phase III, dating from c. 1st to the 3rd centuries A.D. In the process, for a few aspects, he made improvements on, and advances over, the known knowledge to a measurable degree. This he did by reference to the progress made in other contemporaneous darsanas like the Yoga and the Vaisesika (Sanghvi 1929, and its subsequent editions in Gujarati, Hindi, and English) and thus updated the Nirgrantha position on the fundamental questions about the "universal reals" as well as the "experiential realities" that are inalienably associated with them. The impact of his formulations on the subsequent Nirgrantha writers had been considerable; and for the Southern Nirgrantha Church, which does not possess the ancient canonical texts, i.e. the agamas, Umasvati's famous work, which it calls the Tattvartha-sutra, is among the few and foremost books it recognizes as pivotal and sacred. The commentators of the agamic and epistemological works of the Northern Nirgrantha Church as well time and agin invoke that Sutra's authority. As a personage, Umasvati is sufficiently ancient but also invisible, to be qualified from historical standpoint as 'mysterious' and 'shadowy.' The discussions by the writers of this century on Umasvati, those concerning his sectarial affiliation, his literary productions, and his date have often spawned controversies of unparalleled magnitude within the narrow world of the Nirgranthist scholarship. Indeed, many a battles royal-some overtly wordy and venomous, some frankly sectarian, hateful and uncordial, resorting at moments to polemics of the meaner level - had been fought in the journals, introductions,

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JAIN JOURNAL: Vol-XXXI, No. 2 October 1996 and prefaces of some of the edited exegetical works on the Tattvarthasutra, and no less in the articles written, papers read, reviews made, and books written by a few contemporary Nirgrantha writers in Hindi on Umasvati. Often indeed, no holds were barred or spared, and, in the process, standards of civility and proprieties of manners were coolly shelved. To borrow Folkert's (1980) phrase, those acrimonious exercises generated "more heat than light", this being an inevitable consequence of the unhealthy debates. As I look back and take stock of the phenomenal growth of literature revolving round Umasvati since late thirties, the other glaring facts that surface are that, in several cases, even where the writings are in a sober tone, there is virtually a total absence of a sound methodology (or what operated was just an apology for, or an illusion of, methodology) in historical investigations. A studied disconcern in regard to the vital criteria-objective approach, critical examination of the evidence, thorough analysis of the data and their contextual situations, impartial judgement and dispassionate presentation of the results achieved, implications sensed, determinations done, and answers got on the problems-is much too transparent in several of those writings. They at best reveal laboured efforts to prove the presuppositions and biases of a "sect", the real dimensiors and depths of the problems involved had largely been ignored, neglected, and, as a result, had remained opaque. The ambivalent attitude and the employment of double standards (ostensibly apparent in the writings of some learned votaries of the Nirgrantha-darsana of the past five or six decades) have consequenced in some curious as well as deplorable distortions of realities. Because, while almost all who discussed on Umasvati unequivocally held him in high esteem, his most famous work, the Tattvarthadhigama-sutra (as called in its Bhasya's encomium available only in the Northern tradition) or the Tattvartha-sutra (as had been known in the Southern tradition), had become the main focus of dispute. The Svetambara sect, an off-shoot of the ancient Northern Nirgrantha Church, from the beginning took it for granted that the author belonged to its historical tradition and continuum. The Digambara, which in part is a surviving off-spring of the ancient Southern Nirgrantha Church, assertively put forward a claim that the work and its author (to some he is unknown, to others he is either Grdhrapiccha, Aryadeva, or Umasvati) were within its own sectarial fold. A third claim had been advanced in favour of Umasvati being a pontiff of the Yapaniya Sangha, a filiate sect of the Northern Church which had found a congenial 48 1. Luckily, these writings by the scholars (who all are followers of the Nirgrantha-darsana) had been in Hindi and were published during thirties and forties and hence not read by the Western Nirgranthologists.

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DHAKY : UMASVATI IN EPIGRAPHICAL AND LITERARY TRADITION 49 home and comfortable climes and conditions for flourishing particularly in Northern Karnataka since the latter half of the fifth century A.D. The arguments forcefully advanced on behalf of this sect which is extinct since five centuries, are thus put forward by proxy (Premi 1956; Bronkhorst 1985; Patoriya 1988). The work's two varying titles, the Tattvarthadhigama-sutra and the Tattvartha-sutra, in point of fact represent its two versions, the Southern showing improvements as well as modifications for some sutras in terms of grammar, language, and structure, and in a few cases also of content; some sutras concerning cosmography not found in the corpus of the Northern version were also added, supposedly for the sake of completing the unsaid details (Ohira 1982). The protagonists of the Southern version, in the process of establishing the genuineness of their version, had left no efforts to prove the ingenuineness of the Northern version and also vehemently, even sometimes bitingly, had controverted its claim for originality. Some of them also argued that the author of the Northern sutra-text and of its Bhasya is not the n (Mukhtar 1956; Phoolchandra 1971; Kailashchandra 1975, Patoriya 1988) and that the Northern is an altered version of the Southern which is original. The Prasamaratiprakarana, a work attributed to Uinasvati in the Northern tradition since at least the eighth century in the recorded evidence, the quotations therefrom being available since the later half of the seventh century, has been kicked around (the work is virtually unknown in the Southern (Church)2 and Umasvati's authorship of that work had been opposed and rejected (Patoriya 1988). To write, therefore, on the historical aspects of Umasvati amounts, to follow Settar's now famous dictum,3 to "inviting death"! In view of the hostility that prevails for some decades in this field of historical research, it would be foolhardy to discuss anything that touches even the periphery of the problem. I shall, therefore, largely confine my observations in placing the evidence from the epigraphical and literary sides in their own context, sequence, and perspective and the implications that flow therefrom will then be indicated without assertive comments. 2. Excepting for the 25th karika therefrom quoted by Svami Virasena in his Dhavala-tika (816 A.D.) where he does not mention the source or the name of the author. He quotes it by simply saying: atra payogi slokah (Premi 1956: 526). 3. Arising from the title of his recent remarkable book (Settar 1986) used here in a different context and with differing connotation. 4. Sobriety, composure, balance and reticence noticeable in the writings of late Pandits Nathooram Premi and Sukhalal Sanghvi, Hiralal Kapadiya, Jagadishchandra Jain and Dalsukh Malwaniya were, regrettably, not always the accompaniments of the pen of several of the other Nirgrantha writers of the past decades on Umasvati.

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50 JAIN JOURNAL : Vol-XXXI, No. 2 October 1996 Search for Umasvati in the domain of inscriptions at the very glance reveals two salient facts. First, in the available epigraphs of the Northern Nirgrantha Church, his name finds no allusion; second, he is for certain mentioned in the inscriptions of the Southern Church: but, in temporal terms, all of these hail exclusively from the medieval period and range in date from early 12th to early 16th centuries. The inscriptions relevant to the present context are eight, and they all come from the medieval Karnatadesa. Of these, seven are from Sravana Belagola alone; and the eighth, which is the latest, is available from Humcha. Those from Sravana Belagola are tabulated below according to their chronological order.5 Inscription No. Site Date 156 (47 (127)] 1115 A.D. Sravana Belogola (Chandragiri) 135 143 (117)] 1123 A.D. Sravana Belagola (Chandragiri) 173 (50 (140) 1145 A.D. 71 (40 (64)] 1163 A.D. 73 [42 (66)] 1176 A.D. Sravana Belogola (Chandragiri) Sravana Belogola (Chandragiri) Sravana Belogola (Chandragiri) Sravana Belogola (Vindhyagiri) Sravana Belogola (Vindhyagiri) 360 1105 (254) 1398 A.D. 361 [106 (255)] 1409 A.D. The verse referring to "Umasvati" (which also mentions "Gtddhapinccha" i.e. Gadhrapiccha as his alias) occurring in the earliest inscription of 1115 A.D. verbatim figures in the subsequent four inscriptions tabulated above in their chronological order. The concerned verse in all the five inscriptions reads as follows: 5. The numbers follow the relevant numerical arrangement in the Epigraphia Carnatica, Volume 2, Mysore 1973; the numbers as per the earlier (second) edition of the work are shown within the bracket in each case.

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DHAKY : UMASVATI IN EPIGRAPHICAL AND LITERARY TRADITION 51 abhud Umasvati munisvaro asav acarya sabdottara Geddhrapinchah | tad anvaye tat sadrso (a)sti nanyastatkalik asesa padartha-vedi 115 || The verse, moreover, states that Umasvati belonged to the spiritual lineage of (acarya) Kondakunda.. The inscription of 1398 A.D. (which is from Vindhyagiri), however, has a different verse which, moreover, specifically attributes the composition of the Tattvartha-sutra to Umasvati (not done in the afore-cited verse) and looks upon Gtddhrapinccha not as Umasvati's alias but as his disciple's name: sriman Umasvatir ayam yatisas Tattvartha-sutram prakaticakara | yan muktimargacarano dyatanam patheyamarghyam bhavati prajanam || tasyaiva sisyo (a)jani Geddhrapinchadvitiyasamjnasya Balakapincchah || And the inscription of 1409 A.D., also from Vindhyagiri, is the second in order to state that Umasvati composed the Tattvartha-sutra, its other assertions are in essence identical with those noticed in the former five Chandragiri inscriptions : tadiyam vamsakaratah prasiddhad abhud adasa yatiratnamala | babhau yadantar manivah munindrah sa Kundakundodita canda-dandah || abhud Umasvati-munih pavitre vamse tadiye sakal arthavedi i sutriksitam yena jina-pranitam sastrartha-jatam munipungavena || sa prani-samraksana-savadhano babhara yogi kila griddhapaksan! tada prabhsity eva budha yamahur acarya-sabdo ttara Gtddhapinccham II tasmad abhud yogi-kula-pradipo Balakapincchah sa tapo maharddhih! (Incidentally, an inscription of 1154 A.D. Yelladahalli enlists Grddhrapincchacarya after Samantabhadra and Akalanka, the two other notable luminaries of the Southern Church (Vijayamurti 1957: 62, Ins. 324). There is, however, no mentioning there of Umasvati or the Tattvartha-sutra). The eighth inscription is from the surroundings of the famous Padmavati temple at Humcha (Vijayamurti 1957: 518, Ins. 667). It 6. There is a difference in the interpretation of the verse : some feel that what is implied here is that Umasvati is Kundakunda himself (Gopal 1973, p. lxxvi ff.).

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JAIN JOURNAL: Vol-XXXI, No. 2 October 1996 belongs to the late Vijayanagara period on the basis of its paleography as well as the historical allusions to the kings it contains and is datable to c. 1530 A.D. It also ascribes the authorship of the Tattvartha-sutra to Umasvati and, in addition, qualifies him with the honorific term srutakevali-desiya not met with in the aforenoted inscriptions.7 52 There is, however, one other epigraph from Humcha (Vijayamurti 1953 294, Ins. 213) which, as per its date 1077 A.D., is the earliest among the available and which to some extent is pertinent in the present context; it does refer to the Tattvartha-sutra, but ascribes its authorship to some Aryadeva and not to Umasvati or Grddhrapinccha either. Incidentally, the Mallisena-prasasti of 1129 A.D. on the Chandragiri at Sravana Belagola refers to Aryadeva and qualifies him as Raddhanta-karta, an implied allusion to his authorship of the Tattvartha-sutra.9 The inscription at the same time does not anywhere mention Umasvati or Grddhrapincchacarya either in its otherwise long list of the Southern Nirgrantha holymen. Aryadeva, however, is apparently a totally unknown entity in the entire corpus of knowledge on the patriarchs and pontiffs, friars and monks, of all the known sects of the Nirgrantha religion in Karnataka as well as in Northern India. 10 No modern writer predictably therefore has taken these last two inscriptional notices seriously. Their value is limited to the fact that the first is the earliest epigraphical reference to the Tattvarthasutra, and the second possibly refers to it implicitly. From the inscriptions cited above, it is clear that, in the Southern tradition, 'Umasvati' was equated with 'Grddhrapinccha' in early 12th century. In a later 14th century-inscription, Umasvati is for the first time clearly mentioned as the author of the Tattvartha-sutra. And if we were allowed to read in the phrase asesa-padartha-vedi, knower of total "entity 7. Tattvartha-sutra-karttaram Umasvati-munisvaram/ Srutakevali-desiyam vande 'ham gunamandiram // It may be noted in passing that the Nandigurvavali (c. 13th-14th centuries A.D.) also ascribes the Tattvartha-sutra to Umasvati, but does not address him as Srutakevali-desiya : Tattvartha-sutra-kartrtva prakatikrita-sanmanah/ Umasvati padacaryo mithyatva-timiramsuman // 8. Tattvartha-sutra-karttrugal enisid Aryadevar... 9. Epigraphia Carnatica II, 1973: 51, Ins. No. 77 (67). Acaryavaryo yatirAryadevo raddhanta-kartta dhriyatam...Raddhanta means siddhanta or doctrine. The Tattvartha-sutra embodies the doctrine of the Nirgrantha in sutra style 10. Though he may perhaps have flourished in Southern India, we virtually know nothing about him. (A Nirgrantha ascetic 'Ariyadeva' figures in the inscriptions of Tamilnadu; but he is a medieval person).

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DHAKY: UMASVATI IN EPIGRAPHICAL AND LITERARY TRADITION reals", for Umasvati in the inscription of 1115 A.D. (and the subsequent four which repeat the selfsame verse), a hint toward the Tattvarthasutra, by equating padartha with tattua, may be sensed and it may be inferred that the early 12th century composer of the verse plausibly had in mind the authorship of the Tattvartha-sutra for Umasvati even when his phraseology does not directly so specify. III The Southern literary tradition on the Tattvartha-sutra, is, of course, much older than the Southern epigraphical. It assumably therefore has a stronger bearing on the Umasvati problem. The earliest relevant source of the Southern affiliation is the Sarvarthasiddhi of Pujyapada Devanandi (active c. 635-680 A.D., see Dhaky 1990: 152158), which is a famous commentary on the Tattvartha-sutra. Before this date, in the Southern Nirgrantha literature, there is no allusion to the Tattvartha-sutra, nor is encountered, before the eighth century, a citation from the selfsame work or its obvious influence in any Southern writing. Devanandi, on his part, however, professed complete ignorance on who the author of the work he commented upon was, ascribing it as he did to "some Nirgrantha pontiff", the Sutra being an exposition in response to the query of some bhavya person." The next commentator on the Tattvartha-sutra, Bhatta Akalankadeva, in his Tattvartha-varttika (c. 730-750 A.D.), is likewise silent over the authorship of the Sutra. It was Svami Virasena of the Pancastupanvaya who, in his famous Dhavala-tika (comp'eted 816 A.D.) on the Satkhandagama of Puspadanta and Bhutabali (c. 500 A.D.), 12 while quoting from the Tattvartha-sutra, for the first time names "Grdhrapicchacarya" as its author (Premi 1956: 530ff). Also Vidyananda, who is believed to have flourished in late eighth and the first quarter of the 9th century (he more correctly lived in the first 53 11. kascid bhavyah pratyasanna-nisthah prajnavan svahitam upalipsur vivikte parama-ramye bhavyasata-visramaspade kvacid asramapade muniparisan madhye samnisannam murttam iva mo ksamargam a vagvisargam vapusa nirupayantam yukty agama-kusalam parahita-pratipadanaikakaryam arya-nisevyam nirgranthacaryavaryam-upasadya savinayam pariprcchati sma | Bhagavan, kim nu khalu atmane hitam syad iti I sa aha moksa iti | sa eva punah pratyaha kim svarupo (a)au moksah kasc asya prapty upaya iti | acarya aha-niravasesa-nirakrta-karma-malakalankasya sarirasy atmano acintya svabhavik ajnanadi-gunam avyabadha-sukham atyantikam avasthantaram mo ksa iti (Phoolchandra 1944: text p. 1). 12. The editor of the Satkhandagama, Hiralal Jain, and those who follow him assign the work to the second century A.D. The external and internal evidence goes against it as I have discussed in "The Date of Satkhandagama" as yet unpublished. Its real date is c. 500 A.D.

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54 JAIN JOURNAL: Vol-XXXI, No. 2 October 1996 half of the 10th century), 13 in his Tattvartha-sloka-varttika, quotes from the Tattvartha-sutra as of Grdhrapicchacarya (Kailashchandra 1945, Part 2: 231).14 His contemporary, the famous Kannada poet Pampa, too, in his Adipurana (Kannada, 941 A.D.), mentions Grddhrapinchacarya. 15 And Vadiraja of the Dravida Samgha, in his Parsvanathacarita (1025 A.D.), offers salutation to 'Grddhapiccha' whom Kailashchandra (1945:231) takes as the author of the Tattvartha-sutra.16 Kailashchandra (1945: 232) also notices some Jayasena mentioning 'Grddhapicchacarya', but does not specify which one of the two known Jayasena-s is meant, nor does he state as to the work in which this particular reference occurs and what its date, firm or plausible, had been. Some of the manuscripts of the southern version of the Tattvarthasutra contain the following verse which mentions 'Umasvami' in lieu of 'Umasvati': Tattvartha-sutra kartaram Grddhapicchopalaksitam | vande ganindra-samjatam Umasvami-munisvaram || However, as shown by Mukhtar (1956: 106-108), this altered appellation for Umasvati for the first time figures in the Tattvarthavritti of Srutasagara (c. late 15th-early 16th centuries), and Kailashchandra therefore conjectures that Srutasagara may have based this nomen on a foot of a sloka figuring in the Nitisara (of Indranandi: late 10 century A.D.) where the author of the Tattvarthasutra is referred to as 'Svami': Tattvartha-sutra-vyakhyata Svamiti paripathyate (Kailashchandra 1945: 227) Combining now the Southern literary and the inscriptional 13. My paper "The Epigraphical Evidence on the Date of Vidyananda," is currently in press, to appear in Dr. H.V. Trivedi Felicitation Volume from Bhopal. Therein I have produced full evidence for changing his date to c. 900-950 A.D. 14. etena Grddhrapicchacarya-paryanta muni-sutrena vyabhicarita nirasta. 15. A.N. Upadhye, in his "Introduction" to the The Varangacarita of JataSimhanandi, gives the following citation there on p. 15: Aryanuta-Grdhrapimchacarya Jatacarya visruta-kirtya | carya purassaramapp acarya parampareyam kudugam bhavyotsavamam | I-12. 16. Verse 16, quoted in Kailashchandra 1945:231. atuccha-guna-sampatam Grddhapiccham nato'smi tam | paksikurvanti yam bhavya nirvanayotpatisnavah ||

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DHAKY: UMASVATI IN EPIGRAPHICAL AND LITERARY TRADITION references to the Tattvartha-sutra and its author," the following facts unambiguously emerge : 1. Devanandi as well as Akalankadeva, both of whom had commented on the Tattvartha-sutra, are silent over the identity of the author, his preceptor's name, as well as the monastic sub-order to which he belonged. Thus, in the seventh as well as the eighth century, which in temporal terms represents the earliest phase of the Tattvartha exegetical literature in the South, Umasvati as the Sutra's author was, for some special reasons, not mentioned or acknowledged. 55 2. Virasena, Vidyananda, Pampa, and Vadiraja, and the Humcha inscription of 1077 A.D. likewise do not mention Umasvati; thus up to the last leg of the 11th century, Umasvati is nowhere mentioned as the author of the Tattvartha-sutra. But the aforenoted four authors, instead, specify Grddhapiccha (either directly or inferentially) as the author of the Tattvartha-sutra. However, Grddhapiccha cannot be the author's monastic appellation; it arguably must have been conceived, at some stage, as his cognomen. The source for this cognomen is as yet unknown. Devanandi and Akalankadeva, the two earliest Southern commentators on the Tattvartha-sutra, apparently were not willing to accord the authorship of the work to Umasvati; but they hardly would have had an objection against, or inhibition in, revealing Grddhapicchacarya as the author of that celebrated work. Why, then, did they suppress not only the name, but also the cognomen of the author, if it were then known? The problem does thus become somewhat complicated. Was it, it may be asked, then, Virasena who, in face of Devanandi's and Akalankadeva's silence, felt the need for having the author's identity specified (since the Tattvartha was a very important doctrinal work) and hence coined for him the epithetic appellation 'Grddhrapicchacarya'? Was it, it may be suspected, coined for suppressing the name Umasvati as the author, since they knew he did not belong to the Digambara sect? It is by all counts certain that this second and cognomenic appellation 'Grddhrapicchacarya' had gained a wide currency in the Southern (Digambara) Church since the time Virasena introduced it. It is, of course, totally unknown in the Northern 17. There are also some notices which see Kundakundacarya as the author of the Tattvartha-sutra, a supposition for which, however, there is absolutely no evidence and no serious scholar believes in that attribution. Moreover, the date of Kundakundacarya is as late as the latter half of the eighth century as I have elsewhere shown (Dhaky, 1991, pp. 187-206).

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56 JAIN JOURNAL: Vol-XXXI, No. 2 October 1996 tradition, early or late, and this may have been perhaps the case also with the Yapaniyas in Karnatadesa. 3. The Humcha inscription of 1077 A.D. and the Sravana Belagola epigraph of 1129 A.D. ascribe the Sutra neither to Umasvati nor to Grddhapiccha but to Aryadeva, thus coming in conflict with the notices of Virasena, Vidyananda, Pampa, and Vadiraja as well as other inscriptions from Sravana Belagola. 4. The 12th century inscriptions beginning from 1115 A.D., alluded to the foregoing pages, for the first time, and indeed with no past precedent known so far in the Southern (Digambara) Church, mention 'Umasvati'; and 'Grddhapicchacarya' they note as his alias. This equation, in conjunction with other associations, explicit or implicit, would make Umasvati the author of the Tattvarthasutra. But what is the basis for equating 'Umasvati' with 'Grddhapicchacarya'? From where did the composer of the inscription of 1115 A.D. get this information, particularly when the earlier celebrated commentators on the Tattvartha beginning from the seventh century and other subsequent but eminent early writers - Southerners all and indeed of the Digambara persuasion-till 11th century A.D. do not mention Umasvati at all? Why, all of a sudden, did Umasvati appear in the Southern epigraphical notices ? 5. Again, the inscription of 1115 A.D. for the first time mentions Kondakundacarya as Umasvati alias Grddhapiccha's preceptor, a statement that had been never met with before this date, nor can it be upheld by any sound external or internal evidence. The direct and most ancient source, the testimony of the author himself, is what is explicitly believed to be his own encomium at the end of the Sutra-text's Bhasya, the Bhasya being available in, and recognized only by, the Northern tradition: and this proclaims the authorship of the Tattvartha-sutra (in point of fact the Tattvarthadhigamasastra as the author himself therein calls it) positively in his own name, Umasvati; and this encomium could hardly have been available to the medieval composers of inscriptions in Karnata. Nor could they have deduced that it was Umasvati who is the author of the Sutra, at least, not from the earlier writings of their own sect. To all seeming, the Humcha inscription of the 16th century, earlier noted, which quotes a couplet in Anustubh, palpably from some medieval Yapaniya writing (since the term sruta-kevali-desiya it uses it typically of Yapaniya usage and not known in the vogue either of the Digambara or of the Svetambara sect), may have been the source

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DHAKY : UMASVATI IN EPIGRAPHICAL AND LITERARY TRADITION 57 for this information, a source which probably was then available to the Digambara writers in the 12th century Karnata. At the same time, that couplet does not equate Umasvati with Grddhapicch-acarya. (Like the Svetambara sources, it too shows unawareness of that cognomen). This necessitated replacing the original second foot of the selfsame verse by a new foot which duly included the epithet Grddhapicchacarya (of the Digambara coinage) as seen in some fairly late manuscripts of the Tattvartha-sutra which also render Umasvati as 'Umasvami' as noticed in the foregoing pages (Kailashchandra 1945: 227). Incidentally, the Bhasya was known both to Devanandi (Premi 1956) as well as to Akalankadeva (Jagdishchandra 1939). Yet these two early Southern authors did not mention 'Umasvati'. Their silence, if it seems intriguing, is also very significant. (Was it perhaps deliberate or out of necessity ?). IV In the Northern Nirgrantha tradition, as earlier observed, no inscription so far known mentions Umasvati. A somewhat equivalent of, and virtually coeval with, the Southern inscriptional notices are the long or short specific eulogies of the varied Northern literary compositions in which Umasvati sometimes figures. The earliest such reference is by Jinadatta Suri of Kharatara-gaccha in his Ganadharasarddha-sataka (c. very early years of the 12th cent. A.D.);18 next, the Prasamarati-prakarana-tika of Haribhadra suri (1129 A.D.), 19 the Amamasvami-carita of Muniratna Suri of Purnima-gaccha (1169 A.D.)20 and finally the Kalpapradipa of Jinaprabha Suri of Kharatara-gaccha (1333 A.D.)21 which reveren cially remembers Umasvati among the great pontiffs of the Svetambara sect. But all of these are medieval sources and what can be of real value has to be the more ancient references and which, to be really significant, must unequivocally attribute, even 18. Ch. Gandhi 1967: 93. pasamaraipamuha payarana pamcasaya sakkaya kaya jehim / puvvagayavayaganam tesim Umasai namanam // 19. Cf. Deshai 1933: 101. prasamasthena yeneyam ksta vairagya-paddhatin / tasmai vacakamukhyaya namo bhutartha-bhasine // 20. Deshai (1933) quotes the following opening verse from the Vtiti : Umasvater vacakasya vacah kasya na cetasi / dhvanamty adyapi ghantavat taratankara sundarah // 21. Jina Vijaya 1934:69, Pataliputrakalpa. Umasvati-vacakas ca Kaubhisani-gotrah pancasatasamskrta-prakarana prasiddhas tatraiva Tattvarthadhigamam sabhasyam vyaracayat /

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JAIN JOURNAL: Vol-XXXI, No. 2 October 1996 stipulate, the authorship of the Tattvartha-sutra (i.e. the Tattvarthadhigama-sutra) to Umasvati. 58 Before proceeding with that inquiry, it may at this juncture be mentioned that, besides the Tattvarthadhigama-sutra, its Bhasya (which is the earliest available commentary on the text) is looked upon as Umasvati's auto-commentary in the Northern tradition. Also recognised as his works are the Prasamarati-prakarana and the Ksetrasamasa (alternative title, the Jambudvipa-samasa). Gandhahasti Siddhasena, in his Tattvarthadhigama-vritti (c. 760-770 A.D.), refers to Umasvati's another work, the Sauca-prakarana,22 now unavailable. Also unavailable is his Sravaka-prajnapti. The Navangavrttikara Abhayadeva Suri of Candra-gaccha ( active c. 1052-1083 A.D.), and before him the Vadivetala Santi Suri of Tharapadra-gaccha (1040 A.D.) in his Uttaradhyayana-vrtti, cite from Umasvati's other works, now unknown and indeed lost for the past several centuries.23 On the Sa-bhasya Tattvarthadhigama-sutra of Umasvati, Yakinisunu Haribhadra Suri wrote his commentary up to about 61/2 chapters (c. 785 A.D.). His slightly senior contemporary, Gandhahasti Siddhasena, earlier referred to, wrote a full commentary (c. 760-770 A.D.) on the selfsame work; and both of them regard the Sutra as well as its Bhasya as of Umasvati. Haribhadra profusely quotes from the Tattvarthadhigama-sutra in several of his other earlier commentarial works, particularly those on the agamas, all composed between c. 745 and 760 A.D. The commentators on other works whose writings predate Siddhasena's and Haribhadra's, such as Kotyacarya (in his commentary, c. 700-725 A.D.) on the Visesa Avasyaka-bhasya of Jinabhadragani Ksamasramana, c. 585 A.D., also Kottarya vadi gani (in his commentary, c. 700 A.D., which is a supplementary extension for completing the incomplete auto-commentary of Jinabhadra), and Simhasura Ksamasramana (in his Dvadasara-naya-cakra-vrtti, c. 680690 A.D.), also quote from the Tattvarthadhigama-sutra. (The last noted author also cites from the Bhasya). Not only that, several cumicommentaries on the agamas which were composed between c. 650700 A.D., quote from the Sutra. Among the still earlier such works, the Avasyaka-cumi (c. 600-650 A.D.), which plausibly was composed a few decades before Devanandi's Sarvarthasiddhi, cites from the Tattvarthadhigama. The most important of them all are the four 22. Since the point is not very significant, I forego citation. 23. Kapadia collected several such quotations and grouped them into the Tattvarthadhigama-sutra, pt. I, chapts. I.V., Bombay 1926, "Introduction (in Sanskrit)", pp. 20-22. Some of these definitely reflect Umasvasti's style.

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DHAKY : UMASVATI IN EPIGRAPHICAL AND LITERARY TRADITION 59 citations, two from the Sutra-text and two from the Bhasya done directly in the name of Umasvati, figuring as they do in the curni by Agastuasimha (c. 575-600 A.D.) (see Punya Vijava. 1973: 85) on the Dasavaikalika-sutra (c. 4th-2nd centuries B.C.). These being the earliest very clear references to Umasvati (and his two compositions, the Sutra and the Bhasya), I cite them below in extenso : sarvasrava-dvara-pratyapaya-darsanartham bhagavad Omasvatinabhihitam"himsadisvihamutra capayavadya darsanam" (Tattva 7.4), "duhkham eva va" [Tattva 7.5), "vyadhipratikaratvat kanduparigatavaccabramha..." (Tattva 7.5 Sutrabhasye). "parigrahesvapraptanastesu kanksa-so kau praptesu ca raksanam upabhoge capyatsptin" [Tattva 7.5 Sutrabhasye] Although he does not mention Umasvati or the Tattvarthadhigamasutra and its Bhasya, the great Svetambara dialectician, Mallavadi Ksamasramana, the author contemporaneous to Agastyasimha, 2 quotes a phrase, yatharthabhidhanam sabdah, (Jambuvijaya 1976 596) which is a definition of the term sabda that has been traced inside the Bhasya(Jambuvijaya, 1966: 23). And earlier than Mallavadi, Siddhasena Divakara (active c. 400-444 A.D.)25 seems familiar with the Tattvarthadhigama-sutra as well as its Bhasya and possibly also with the Prasamarati-prakarana.26 This unambiguously proves the antiquity of the Sutra text as well as of the Bhasya, and places Umasvati's date before the fifth century A.D. The most direct, just as the earliest, evidence on the authorship of the Tattvarthadhigamasutra (as well as its Bhasya) is of course the grantha-prasasti at the end of the Bhasya as had been lucidly shown by Sanghvi, Jagadishchandra, as well as Premi.27 I cite below this encomium (with which epigraphers and non-Nirgrantha historians in India in general are unfamiliar), followed by its translation in English: 24. I. as well as Jitendra Shah (n.d.), date Mallavadi to the latter half of the sixth century and not to the fourth century A.D. as has been done by most Svetambara Jaina scholars. 25. I am discussing the date of Siddhasena Divakara elsewhere. 26. The opening verse of his Dvatrimsika 19 which is an echo of the sutra 1 of the Tattvarthadhigama-sutra; and the opening verse of his Dvatrimsika 20 which reflects awareness of the karika 204 of the Prasamarati prakarana. (In the former connection Cf. Upadhye 1971:162, 164). 27. In a long paper I am discussing their views with all citations and observations thereof.

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60 JAIN JOURNAL: Vol-XXXI, No. 2 October 1996 vacaka-mukhyasya Sivahsriyah prakasa-yasasah prasisyena | sisyena Ghosanandi-ksamanasy aikadasanga-vidah ||1|| Arya vacanaya ca mahavacaka ksamana Mundapadasisyasya | sisyena vacakacarya Mulanamnah prathita-kirteh ||21| Nyagro dhika-prasutena viharata puravare Kusuma-namni Kaubhisanina Svati-tanayena Vatsi-suten arghyam 11311 Arhad-vacanam samyag gurukramen agatam samupadharya | duhkhartam ca duragama-vihatamatim lokam avalo kya 11411 idam Uccairnagara-vacakena sattvanukampaya drbdham | Tattvarthadhigamakhyam spastam Umasvatina sastram 1511 The prasasti is cast in an archaic mould as well as in highly compressed form; it is divisively distributed for meeting the metrical requirements and is by disposition somewhat involved: hence strophe by strophe literal translation would only end in a jigsaw puzzle. I have therefore preferred rearranging the writing, otherwise faithfully following the sense and intent of Umasvati.28 (He,) vacaka Umasvati of the Uccairnagara sub-order (of the Northern Nirgrantha friars), born at Nyagrodhika, of Kaubhisani clan (gotra) (and) son of Svati and of Vatsi, grand disciple of the illustrious chief preceptor (vacakamukhya) Sivasri and disciple of ksamana Ghosanandi; he, who received his knowledge of the holy scripture (vacana) from Mula, the disciple of mahavacaka Mundapada: receiving thoughtfully as he did the Word of Arhat (which flowed) through the succession of right (authentic) teachers, and sensing as he did people's suffering from sorrow, their intellect dulled by the evil doctrinal treatises, -out of compassion, composed in clearer terms (spastam, i.e. with the commentary) (this Tattvarthadhigama-sastra while sojouring, during his itinerary, in Kusumapura (Pataliputra)." "29 I am aware that some scholars (Ghatage 1935) held that the encomium is an addition of a later date. But its form and style are fairly archaic, and agree with the general style and modal nuances not only of the opening 31 and closing 32 karikas of the Sutra, but also with those of the Prasamarati-prakarana as well as of some of the citations from the lost works of Umasvati. Moreover, the ecclesiastical status 'vacaka' is nowhere met with after the Gupta period. And the term 'ksamana', too, is nowhere applied after the fifth century in the Northern Nirgrantha tradition, although the term 'ksapanaka' is used in the Samskrta plays and elsewhere in postGupta times. Likewise, the convention of mentioning the gotra of a 28. The encomium verses have been cited from Kapadia 1926:19. 29. I have made small alterations and rearrangement with a view to improving upon the translation presented by Dixit, and recently by Zydenbos.

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DHAKY: UMASVATI IN EPIGRAPHICAL AND LITERARY TRADITION pontiff goes out of vogue after the fifth and early sixth centuries A.D. There is thus nothing to doubt about the antiquity as also its contemporaneity as well as its connection with the Sutra-text and the Bhasya and hence the authenticity of its content. Had it not been so known or understood or interpreted even in earlier times, Agastyasimha in the sixth century and Siddhasenagani and Haribhadra Suri in the eighth century could not have ascribed the Sutra as well as the Bhasya to Umasvati. V In the Northern tradition, Umasvati is thus known by name and also as the author of the Tattvarthadhigama-Sutra from the evidence of the encomium of the work, which is the earliest, positive, and direct reference, and this must be from c. 350-375 A.D., which is the probable date of its composition.30 The other evidence, direct but outside the original work, earlier noted, is of the Dasavaikalika-cumi of Agastyasimha; this is of the late sixth century or over half of millenium anterior in date to the Sravana Belagola inscription of 1115 A.D. The evidence on Umasvati from the literary notices on Umasvati in the Southern Nirgrantha Church is definitely negative till we come to late medieval period when, however, Umasvati is called 'Umasvami'; and in early ninth and tenth centuries, the Sutra was ascribed by the relevant writers to 'Grddhapicchacarya' and not to 'Umasvati'. As already noted, it was as well ascribed to Aryadeva in some quarters in Karnata in the late 11th and early 12th centuries A.D. The aforenoted Sravana Belagola inscription of 1115 A.D. for the first time equates 'Grddhapicchacarya' with 'Umasvati', but without, as it today may seem, the support of its own earlier literary tradition which either did not know, or for some reasons avoided mentioning, Umasvati as the author of the Tattvartha-sutra. The Northern tradition, on the other hand, does not mention or know 'Grddhapicchacarya' at all. Indeed the many works beginning from the late sixth to the 12th centuries, which mention the author or cite from the Sutra as an authority, irrespective of whether they specifically noted Umasvati or not, provide not a single instance of an allusion there to 'Grddhapicchacarya' (or to Aryadeva either). There was neither ambiguity nor were conflicting claims about the name of the author of the Tattvarthadhigama-sutra. He was, from the beginning to the end and unequivocally, Umasvati. 61 30. Umasvati's date has been a matter of controversy. Some place him in the fifth, some to the eighth. Since he flourished before Siddhasena Divakara-his style, too, is archaic-I have preferred the bracket c. 350375 A.D. for his active years.

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62 JAIN JOURNAL : Vol-XXXI, No. 2 October 1996 As I survey the writings on Umasvati of this century, the following divergent trends with regard to this vexed issue are met with : 1. Several scholars regard the Sutra and the Bhasya as of Umasvati. This is the view largely of the Nirgrantha-Svetambara scholars. Jagadishchandra Jain as well as of several Western scholars. particularly the German Nirgranthologists. 2. At least one scholar felt that the encomium naming Umasvati at the Bhasya applies to the Sutra alone (Ghatage 1935). But most Digambara scholars, and few Western scholars (Williams 1963; Zydenbos 1983) regard the Sutra as of the Nirgrantha-Digambara sect and the Bhasya alone is ascribed by them to a Svetambara Umasvati, or, alternatively, for some the name of the Bhasyakara must be looked upon as unknown. And one scholar held that there were two Umasvati-s, the author of the Sutra, an earlier Umasvati who was Digambara and the second later, a Svetambara Umasvati who altered the original text and composed the Bhasya (Phoolchandra 1971). 3. In the opinion of still others, both the above-cited claims are unjustified and the author of the Sutra as well as of the Bhasya, doubtless Umasvati, was a Yapaniya (Premi 1956 1956; Upadhye 1971). Alternatively according to some, the Sutra was composed by a Yapaniya but the Bhasya's author was a Svetambara (Bronkhorst 1985; Patoriya 1988). I shall offer no comments on these views, -all as mutually conflicting as are diverse--for it is a subject of a separate paper or a series of papers for clearing the mess they have created. The conclusions I have reached as the result of my own researches is that Umasvati possibly was a pre-Svetambara or non-Svetambara, and hence non-abbatial Northern Nirgrantha holyman.31 Uccairnagarasakha, to which he belonged, was not a filiate of the Southern (Digambara) Church, nor of the Yapaniya Samgha. It was within the ambit of the early Northern Nirgrantha main stream tradition. The readings and content as well as some details of the version of the agamas followed by the Uccairnagara-sakha, as met with particularly in the Bhasya, apparently had differed at places from the agamas of the Vajri-sakha that are currently available with, and inherited by, 31. The Svetambara sect has been for the first time referred to in the literary and epigraphical notices of the later part of the fifth century. At the beginning it apparently was a caityavasi or abbatial sect and for long had so continued to remain a sect.

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DHAKY: UMASVATI IN EPIGRAPHICAL AND LITERARY TRADITION the Svetambara sect. They likewise differ for some matters and details from those of the Digambara as well, as has been shown by some previous writers (Premi 1956, Ohira 1982). Umasvati arguably had before him a version of agamas followed by his own branch, the Uccairnagara-sakha which apparently had differed from the version of the Vajri-sakha for some details. Post Script While completing this paper, I had missed an important article by A.V. Narasimhamurti, namely the "Epigraphical References to Umasvati," in Svasti Sri (Dr. B.Ch.Chhabra Felicitation Volume), Delhi, 1984, pp. 57-60. Narasimhamurti, on the authority of P.B. Desai, has noted an inscription of 1098 A.D. in the Jaina basadi at Hunasi Hadagali, which refers to Grddhapincha but not to Umasvati. (Cf. P.B. Desai, Jainism in South India and Jaina Epigraphs, Sholapur 1957, p. 241). Thus, till the very end of the 11th century, Umasvati does not figure in the epigraphical tradition of Southern India. After sending the material to the editors of Sri Nagabhinandanam volume, I noticed to have missed a reference to a specific mention by the Yapaniya pontiff Palayakirti Sakatayana in his grammar; therein, he refers to the ten (chapters) of Umasvati (dasaka Umasvatija) and thereby to the Tattvarthadhigama Sutra. (Cf. Sakatayana-Vyakarana, ed. by Pt. Sambhunatha Tripathi, BJMJG, Skt. series no-39, New Delhi 1944, II, 4; 182). Sakatayana may have been the source from which the composer of the Sravana-Belagola inscription of A.D. 1115 "ot and included this specific information. Bronkhurst, Johannes Dhaky, M.A. Dhaky, M.A. 63 References 1985 On the Chronology of the Tattvartha-sutra and some early commentaries, Archiv Fur Indische Philosophie, Wiener Zeitschrift Fur Die Kunde Sudasiens, Sonderdruck Aus Band XXIX, 155-184. 1990 The Jaina "Jinendrabuddhi" and incidental questions, Indian History and Epigraphy, Dr. G.S. Gai Felicitation Volume, Delhi: 152-158. 1991 The Date of Kundakundacarya in M.A. Dhaky & Sagarmal Jain (eds.),

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64 Deshai, Mohanlal Dalichand Dixit, K.K. Folkert, Kendall, W. Gandhi, L.B. (ed.) Ghatage, A.M. Gopal, B.R. Jagadish chandra Jain Jambuvijaya, Muni (ed.) Jina Vijaya (ed.) Jitendra B. Shah Kailash chandra Shastri Kapadia, Hiralal (ed.) Mukhtar, Jugalkishore Ohira, Suzuko JAIN JOURNAL: Vol-XXXI, No. 2 October 1996 Aspects of Jainology, Vol. III, Pt. Dalsukhbhai Malvania Felicitation Volume I, Varanasi, pp. 187-206. 1933 Jaina Sahityano Samksipta Itihasa. (Gujarati), Bombay. 1971 Jaina Ontology, LDS No. 31, Ahmedabad. 1980 Jain Religious Life at Mathura : The Heritage of Late Victorian Interpretation, (cyclostyled paper), read at the Seminar "Mathura: The Cultural Heritage," held in Mathura. 1967 The Three Apabhramsa Works of Jinadatta Suri with commentaries, G.O.S. No. 37 (reprint), Baroda. 1935 The Text of the TattvarthadhigamaSutrani, Journal of the University of Bombay, 4 (Nov. 1935). 1973 "Introduction" in Epigraphia Carnatica, Vol. II, Mysore. 1939 Tattvarthadhigama bhasya aur Akalanka" (Hindi), Anekanta 3/4, V.N.S. 2066. 1966 Dvadasaranayacakram, (with introduction in Sankrit), Bhavanagar. 1976 Ibid., Part II. 1934 Vividhatirthakalpa, SJS Vol. X, Santiniketan. n.d. "Mallavadi-no Samaya", to be published in the Nirgrantha. Ahmedabad (in press). 1945 Jaina Sahitya ka Itihasa, (Hindi), second part. Varanasi V.N. 2502. 1926 Tattvarthadhigama-sutra, (with Introduction in Sanskrit) Part I, Bombay. 1956 Umasvati ya Umasvami ?, Jaina Sahitya aur Itihasa par Visada Prakasa (Hindi), Calcutta, pp. 106108. 1982 A Study of Tattvartha-sutra with

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DHAKY : UMASVATI IN EPIGRAPHICAL AND LITERARY TRADITION 65 Bhasya, LDS No. 86, Ahmedabad. Patoriya, Kusum 1988 Yapaniya aur Unka Sahitya, (Hindi) Varanasi. Phoolchandra, 1971 Sarvarthasiddhi, Delhi-Varanasi. Siddhantashastri Pandit (ed.) Premi, Nathooram 1956 Umasvatika Sabhasya Tattvartha, Jaina Sahitya aur Itihasa, (Hindi). Bombay. Punyavijaya, Muni (ed.) 1973 Dasavekaliyasuttam, Ahmedabad. Sanghvi, Sukhlal 1929- Tattvartha-sutra, First edition, 30 Ahmedabad. Settar, S. 1986 Inviting Death, Dharwad. Upadhye, A.N. (ed.) 1971 Siddhasena's Nyayavatara and other Works, Bombay. Vijayamurti, Pandit 1953 Jaina-Silalekhasangraba, Part II, Bombay (V.S. 2009). 1957 Ibid. Part III (V.S. 2013). Williams, R. 1963 Jaina Yoga, London Oriental Series, Vol. 14, London. Zydenbos, Robert J. 1983 Moksa in Jainism according to Umasvati, Wiesbaden.* * This is a revised version of the author's previous article.

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NEWS ON JAINISM AROUND THE WORLD The bas relief panel of Lord Mahavira at Satyamangalam The Archaeological Survey of India, which is supposed to maintain the magnificent bas relief panel of the Jain Saint Mahavira, atop the monolithic boulder at Satyamangalam, 6 km from Kulithalai, seems to have forgotten its existence. The panel, measuring 6 feet in length and 5 feet in height, on a single piece of rock, popularly called 'Gundankallu', is over 1,000 years old, and depicts Lord Mahavira in sitting posture flanked by a Yaksa and Yaksi on either side. The typical three-umbrella motif of Jains is seen just above the head of Mahavira. Fortunately, despite the elements, the panel is in a very good condition. A song sequence of a popular film was shot at the site recently, and a large portion of the rock just right of the panel was painted in gaudy colours, to give effect to the dance scene. When the shooting was over, all connected with the shooting left the area without bothering to clean it up. The local villagers, however, with great difficulty managed to remove the paints. There seems to have been a board at the site, put up by the ASI declaring the bas relief panel as a protected monument. But now the board is not there, and only a long iron rod, where the board existed once upon a time, is the proof that the ASI was incharge of the monument. From The Hindu, October 2, 1995. Jain Acarya brings life to sleepy village Kolanpak, a sleepy village in Nalgonda district, about 80 km from Hyderabad, came alive on one Friday with people from neighbouring areas thronging it to have "darshan" of the Jain Acharya Sri Rajyesh Surishwarji who had come 1,200 km from Durg (Madhya Pradesh) on foot to be present at the installation of eight idols in a 200-year-old Jain temple there on Jan. 26. The temple is being renovated for the big day. Men from Jaipur have been working since 1990 on white marble and coloured stones brought from the Pink City for use in the temple. The consecration ceremonies in the temple-stated to be about 200-year-old begin on Jan. 18.

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67 NEWS ON JAINISM AROUND THE WORLD The idols, prepared in Jaipur and to be installed in the temple, are thsoe of Jinadatta Surishwarji, Manidhar Chandra Suri, Kushal Surishwarji, Chandra Surishwarji, Seemandhar Swami, Pundarik Swami, Gautam Swami and Mata Padmavati. In an event of social importance to the community, Reshma Surendra Saha of Bharaundha (Gujarat) became a "sadhvi" on Jan. 25. The Andhra Pradesh Home Minister, Mr. A. Madhava Reddy, received the Acharya when he reached the village. The" pratipada" of ains - who stayed in the village until Jan. 26 giving daily "pravacana" -was taken round in a "shobha yatra" along with the Minister, a large number of school children and community people from different parts of the country. The Acharya returned to the temple bringing back with him eight idols from the nearby Shiv Mandir which was also installed in the temple. Shri Kulpak Tirtha Pratishtha Mahotsava Samiti, the organisers of the installation function, held a community lunch ("anna prasad") for thousands of people of five adjoining villages. The samiti officebearers are distributing a kg of jaggery, a steel plate and a tumbler, besides notebooks and ballpen in each house in Kolanpak to mark the occasion. In his address to the gathering, the Acarya called upon the people to offer sacrifices for the benefit of others ("tyaga"), to help others ("poropakara") and try not to harm fellow humans. This should be the motto of people, as was enshrined in the Vedas and propagated in the country's cultural ethics. Mr Madhava Reddy hailed the Jain community for its contribution in providing health, medicare and education facilities to the needy in interior areas of the State, complementing the efforts of the Government. The Jiva Raksa Pracaraka Mandali put up an exhibition near the temple to impress upon the people the need to eschew cruelty against animals and saving them for the welfare of community. Ms. Amala, wife of the Telugu film star Nagarjuna, who heads Blue Cross, an animal welfare organisation, was slated to visit Kolanpak during the consecration ceremonies. The Samiti leaders announced that an eye hospital would be set up at Kolanpak to be run by either the L.V. Prasad Eye Institute or

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68 JAIN JOURNAL : Vol-XXXI, No. 2 October 1996 Medi Citi Hospitals. The building would be put up at a cost of over Rs. 20 lakhs. The equipment would be brought from foreign countries. The hospital would benefit people from 40 villages in the district, they said. From The Hindu 13.1.1996. Stone sculpture piece found in Polur A 10th century A.D. stone relief of a Jain Tirthankara was discovered recently at a Adi-Dravida colony at Vellur village near Sandhavasal, Polur taluk in Tiruvannamalai Sambuvarayar district. According to Mr M. Gandhi, curator of the Government Museum, Vellore, the figure is seated on a long 'pida' in the 'dhyana' poseplacing both palms on the lap. A 'prabha' with tongues of flames is seen raised above the shoulders of the 'Jina'. Above the head, a 'tricakra' has been beautifully chiselled but has been damaged by the ravages of time. The face of the 'Jina' is square. A long raised pillow supports the 'Jina's back. From the top of the 'tricakra', flowers and buds with stalks fall on both sides. The figure is four feet tall and three feet wide. Inscribed beams and parts of the temple were found scattered in front of the piece. According to the local residents, the pieces were brought from the Ammayappisvara Temple of Padavedu, built during Sambuvarayars rule. From The Hindu 7.2.1996. Vepery Jain temple 'pratistha' on May 23 The 'pratistha' (kumbhabhisekam) of Sri Sambhavanatha, a Jain temple on EVK Sampath Road, Vepery, was performed on May 23. The 37th Jain temple in the City under the auspices of 1008 Acarya Srimad Vijaya Kalapurna Sri Suriswaraji Maharaj Saheb has been built of pure white marble. No iron materials have been used in the construction of the temple. A striking feature of the temple, the height of which is 55-ft long and width of 30 ft., is the exquisite carving on pillars and walls in the sanctum sanctourim. About 12,000 cubic feet of white marble stone

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NEWS ON JAINISM AROUND THE WORLD has been used, and it has taken about 13 years to complete the temple, the foundation for which was laid in 1983 under the auspices of Acarya Navin Sri Surishwarji Maharaj Saheb. Acharya Vikaram Suriswarji Maharaj, Acharya Padmasagar Suriswaraji Maharaj and Acharya Rajesh Suriswaraji Maharaj have been the guidance forces. 69 To commemorate the 'pratistha', various pujas, bhaktis and navkarsi had organised from May 13 to 24. The main idol measuring 41 inches is of Sri Sambavanatha Bhagavan, the 3rd Thirthankara. Twelve more idols will be installed in the temple, which has been built on two levels. Acarya Srimad Kalpurna Suriswaraji Maharaj performed the Anjansalaka and Prathista mahotsava.The Anjansalaka depicting the various facets of life of the Tirthankaras were portrayed through dramas and cultural shows from may 17 to 23. A traditional procession of the Lord decorated in a silver chariot was taken out on May 22. From Indian Express, May 12, 1997. Sittannavasal paintings endangered The famous Jain cave temple, Arivarkovil (the temple of the Tirthankara), at Sittannavasal, 14 kms off Pudukottai, is fast losing its pristine glory and charm due to bureaucratic apathy. The Sittannavasal paintings carry on the tradition of the wellknown Ajanta frescoes of the first seven centuries A.D., the Ceylon Sigiriya frescoes of the fifth century and Gwalior's Bagh frescoes of the sixth and seventh centuries A.D. Sittannavasal paintings are an early example of the Ajantan or post-Ajantan period and in merit are comparable to Ajanta and Sigiriya. Such a marvellous paintings and the cave temple are on the verge of decay owing to the indiscriminate granite quarrying around the cave temple. This rock-cut temple is believed to have been done by Pallava king Mahendravarman-I circa 640-670 AD. Though the king was responsible for many more cave temples, this is the only Jain temple, with all others having been dedicated to Hindu gods. The whole cave, consisting of the walls, ceilings, cornice, beams and pillars was originally covered with plasters and paintings and

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70 JAIN JOURNAL: Vol-XXXI, No. 2 October 1996 the sculptures were also covered with painted stucco. Now the paintings on the walls have perished and some paintings on the ceiling beams and some on the upper parts of the pillars alone remain intact. After the cave had been declared a national monument the entire area was fenced by ASI and a big iron gate was also fixed. The paintings above the three images in the sanctum, those on the ceiling, the images in the ardhamandapa and the ones on the corbels, beam and cornice now give a faded and defaced picture. But, unless some drastic action is taken to contain the ongoing granite quarrying works in the hill region, these rare pieces of art will collapse very soon. On the southern part of the cave temple, the death bed (resting place) of the Jain saints is situated on a hillock about 200 feet height from the ground level. It is said that the Jain saints, during their final days, preferred an isolated place like natural caverns in order to observe 'sallekhanam fast' unto death. One such place is in Sittannavasal but is being ignored by officials. There are 15 such beds on this hillock and the place has been protected with an iron gate. In the absence of any watchman to look after these structures exclusively, the quarry workers around the area used to scale the iron gate and damage the beautifully carved stone beds, sometimes even with the help of chisels! Moreover, owing to the free usage of explosives to blow rocks, the upper portions of the beds have developed cracks and may collapse at any moment. The impact of explosions is so devastating that the paintings, along with the plaster, vanish into thin air, pointed out Kudavayil Balasubramaniyam, a noted Historian from Thanjavur. Hence, unless the Government imposes a total ban on quarrying in Pudukottai district as the district has the maximum number of protected monuments, the rarest of art forms, sculptures and caves would be lost for ever. From The Indian Express, 9.9.1996. A Modern Jaina Mathematician There are 24 Tirthankaras of the present age in Jainism. The first Tirthankara is Rsabhadeva, who is mentioned in all the Jaina Puranas as well as in the Rgveda. Bharata, son of Rsabha, was the first Cakravarti and our country got the name 'BHARATAVARSA' from him.

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NEWS ON JAINISM AROUND THE WORLD 71 The well-known and world famous Bahubali is another son of Rsabha. The last Tirthankara is Mahavira, who was a contemporary of Buddha. Mahavira visited different parts of India for thirty years and explained to the people the various problems of life and their solutions. The influence of the great principles preached by Mahavira is seen in India even outside Jainism. He left behind a legacy of systematic religion and philosophy and also a well-knit social order of ascetics and lay followers who earnestly followed and practised his preachings. Mahavira stressed the dignity of man as man and preached to the masses in their own language regarding high moral ideals which advanced the individual on the spiritual plane and further contributed to social solidarity. It is really a pleasant surprise that even in the 20th century also there are some persons who are playing a significant role in spreading and upholding the high spiritual values of Jainism and studying Jaina Agamas as well as the mathematical contents contained in Jaina literature. The object of this article is to introduce one such person Dr Anupam Jain and give a biographical sketch of his life and works. Anupam Jain was born on 17th June 1958 in his grand father (Nana) Sri Sumeru Chand Jain Shastri's house in Bahraich (Uttar Pradesh). His father is Sri Trilok Chand Jain and mother is Mrs. Indira Jain. His father was a resident of village Chattari. For the sake of business his father left this village and started living in Firozabad from 1960. Anupam Jain had his primary education at Sri Digambara Jaina Pathsala at Bahraich. He studied VI standard in P.D. Jain Inter College, Firozabad, and then he was a student of Rajakiya Inter College, Bahraich, during his study of VII to XII standards. He obtained both his B.Sc. (1977) and M.Sc. (1979) degrees with distinction from the C.L. Jain Degree College, Firozabad, which is affliated to Agra University. For further studies he went to Meerut. Staying in Jain Boarding House at Meerut, he obtained his degree of M Philosophy (M. Phil.) in 1980 with 1st division from the Meerut University, Meerut. Under the guidence of Professor Suresh Chandra Agrawal he was awarded Ph.D. degree in History of Mathematics for his thesis entitled "Ganita ke Vikasa main Jaina Acaryon ka Yogdana" from the Meerut University, Meerut, in the year 1992. Anupam Jain wedded to Nisha Jain on 6th May 1984 at Firozabad. Nisha Jain is a simple and kind-hearted lady, Ambuj, Anuj and Ayush are the three sons of this couple.

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72 JAIN JOURNAL: Vol-XXXI, No. 2 October 1996 Anupam Jain's three books entitled 1. Jambudvipa Parisilana (Hindi), Dig. Jaina Institute of Cosmographic Research, Hastinapur, 1982. 2. Mahaviracarya-Ek Samiksatmaka Adhyayana (Hindi), Coauthor Prof. Suresh Chandra Agrawal, D.J.I.C.R., Hastinapur, 1985. 3. Philosopher Mathematicians (English), Co-author Prof. L.C. Jain, D.J.I.C.R., Hstinapur, 1985. have been published and more than 32 research articles of him have also been published in various national and international Journals. He has successfully edited two felicitation volumes, two proceedings and many books. He writes continuously in many national and international magazines. He is the editor of "Arhat Vacana", which is a quarterly research Journal published from Kundakunda Jnanapitha (Research Centre) at Indore. He is not only active in social field, but is also equally active in his own subject-Mathematics. He is the youngest member among the International Editorial Board of the International Research Journal 'Ganita Bharati', a publication from Indian Society for History of Mathematics, New Delhi. Anupam Jain is a member of Indian Science Congress and Mathematical association of India. He is the founder member of National Group of History and Pedagogy of Mathematical Sciences, New Delhi. He delivered a lecture on 'Indian Contributions on Mathematics with Special References of Jainacaryas' in the International Symposium on History of Mathematics and Mathematical Education held at Gumma University, Japan, during 7-10 August 1987. In the world conference on Ahimsa held at New Delhi during 31.10.1980 to 4.11.1980, he presented the paper 'Ahimsa and Ecological Balance'. Motivation from His Study of Jaina Mathematics On being asked his interest in Jaina Mathematics, he said-'When I was 14 years old, Prof. Manohar Ray's book was the text book for us in the 10th standard and it was mentioned in that book: "In the past few days a book by name Dhavala has been found and in this book there are a number of formulae in Algebra". This fact was firmly rooted in his mind which evolved when he was doing his M. Phil, degree, as

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NEWS ON JAINISM AROUND THE WORLD a consequence, he started writing research papers on Jaina Mathematics.' Using the explanations of the mathematical terms contained in (i) Jainendra Siddhanta Kosa, (ii) Varni Abhinandana Grantha, (iii) Nathurama Premi Abhinandana Grantha, and (iv) the materials published in Jaina Siddhanta Bhaskara as source material he started writing disertation which resulted an M.Phil. and Ph.D. degrees upon him. Awards and Titles He was honoured with the title Jnanavaridhi' in the year 1992, in 1993. In 1995, he was given the title 'Srutasri' by Upadhyaya Muni Sri Jnanasagara Ji at Saharanpur. 73 BOYD SMITHS PVT. LTD. B-3/5 GILLANDER HOUSE 8 NETAJI SUBHAS ROAD CALCUTTA-700 001 Dr (Mrs) Padma Vathamma. PHONE: 220 8105/2139, RESI : 244 0629/0319

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