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Studies in Jainology, Prakrit
two works of, more or less, the same period and the same nature, but composed in two different places by two different authors respectively belonging to them.
These two works are : (1) The Vaddaradhane in Kannada, composed in Karnataka by an unknown Jaina monk in C.925.A.D.19 (2) The Brhatkathakośa in Sanskrit, composed by Harişena in Kathiyavad in 930 A.D.20 Both are Aradhanā Kathākošas, based on the Mūlarādhanā of Sivāraya' and having a Prakrit commentary on the Mularādhanā as one of their sources. Stories 1 to 19 in Vaddarādhane correspond to stories 126 to 144 in the Brhatkathākosa. The methodology I have adopted here is to glcan from their texts and enlist, with observations, such terms and phrases that indicate or signify one or other aspect of Jaina Yoga. While doing so the context in the respective text, the native element etc. are duly taken into consideration. Routine technical terms like dharma-dhyāna, sukla-dhyana, their sub-divisions, the various rddhis and labdhis (occult powers) etc., which also appear to have come down from the root source or sources of these texts, have been often ignored.
Following is such a study of the stories in the Vaddarādhane and of the corresponding stories in the Brhatkathakośa :
Tapa22 (penance) seems to have acquired great importance in the Jaina religious circles of Karnatak during the tenth century A.D. In these stories of the Vaddaradhane, the tcrm tapa is used in its various shades of meaning and representing peculiar contemporary concepts of Jaina yoga. Tapambadu (21. 11, 30. 16 etc.)23 is used a number of times in the sense of : to enter the Order; tapambadisu (79.8) - to initiate into the Order; tapamgeyyu (30.16 etc.) - to persevere in penance. Further, tapa (penance) was perserved by the Jaina monks by indulging in yama, niyama, svadhyaya and dhyananusthāna (11.24-25, 96.15-16). The nature of such tapa (penance) was ugrogra tapa (49.15), ghora- vīra tapa (98.24, 134. 3-4) and ugrogra ghora-vira tapa (145.3), tapogni (the
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