Disclaimer: This translation does not guarantee complete accuracy, please confirm with the original page text.
The Digambaras accept only the Tattvarthasutra as the work of Uma Swati, honoring his father's tradition. On the other hand, the Shvetambaras acknowledge the tradition of their fathers and accept both the Tattvarthasutra and its commentary. Thus, the question arises as to whether Uma Swati belongs to the Digambara tradition, the Shvetambara tradition, or to a completely different tradition. This question may be resolved through the examination of the authorship of the commentary and the authenticity of the praise at its end; however, it currently seems that no other means is available. Therefore, it is debatable whether the said commentary is a work of Uma Swati or another, as well as whether the praise provided at the end is factual, imagined, or later interpolated.
The 31 verses at the beginning of the commentary are merely sufficient to indicate the purpose of the original sutra composition. Additionally, before the praise at the end of the commentary, there are three verses from the Anushtup meter. Both available commentaries provide interpretations of these verses, and the commentators derive their insights from understanding the text's commentary. The eighth verse among these has been cited by Uma Swati’s disciple, Haribhakta, in his father's "Shastravartasamuccaya" as verse 692. Thus, it is certain that the Shvetambara Acharyas unequivocally recognize the commentary in the eighth verse.
These verses have been left behind by Poojya Pad in the manner of the initial verse; yet, it seems that the subsequent follower, Akalaka, took those verses back at the end of his Rajavartikā, probably because...