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INTRODUCTION
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(n) Vibudhasena, Yogindradeva, Yogadeva, Laksmideva,
Abhayanandisūri etc.
Numerous Digambara scholars have composed ordinary commentaries on Tattvārtha. I myself have not been able to collect special information regarding them. Besides these so many Sanskrit commentaries there have been Digambara scholars who composed on Tattvārtha commentaries in vernacular languagesof whom some write in Kannada, some in Hindi.!
(3) Tattvārthasūtra
With a view to getting specially familiarized with the exterior and the interior of the text called Tattvārtha the following four topics are being considered below on the basis of the original text.
(a) the material serving as the source of inspiration; (b) The purpose of composition; (c) the style of composition; (d) The treatment of subject matter.
(a) The Material Serving as the Source of Inspiration
The material which inspired the author to compose Tattvārtha can be briefly divided into four classes :
(i) The heritage of Āgamic Knowledge
Like Vedas in the case of the Vedicist systems of philosophy the Āgamic texts are considered to be the chief authority by the Jaina system of philosophy; as for the remaining texts their authoritative character consists only insofar as they follow the Āgāma. And the heritage of this Āgamic knowledge—a heritage till then transmitted by way of a historically developed traditionVācaka Umāsvāti had received in a proper manner; hence his knowledge of all the Āgamic topics was clear and systematic.
1. See the Introduction by Shri Nathurāmji to the Hindi translation of Tattvärtha bhāsya.
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