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There is no reliable ancient basis for who they are. The noteworthy point is that the renowned and great Digambara commentators from the fifth to the ninth centuries do not explicitly refer to the Tattvarthsutra as composed by 'Umasvati' in their commentaries, nor do they mention Umasvati in a Digambara, Svetambara, or neutral context. Yes, in Svetambara literature from the eighth century, there are credible references in texts that state the Tattvarthsutra is authored by Umasvati, and it seems from the perspective of these authors that Umasvati was Svetambara; however, if we set aside the 'Pattavali' of the Tapagachchha from the 16th-17th centuries, no references can be found in any Svetambara texts or Pattavali that indicate that the author of the Tattvarthsutra, Umasvati, was a disciple of Shyamacharya.
Despite the existence of Umasvati's own composed praise of the Tattvarthsutra, which reflects his lineage and guru tradition and is devoid of any physical substance, it is astonishing how such confusion has proliferated. However, when one considers the historical lack of sectarian clarity and perspective, this issue becomes clearer. The short eulogy written by Umasvati on historical matters is a true guide. Many events associated with his name have been passed down in the traditions of both sects, but they cannot yet be considered literally accurate due to their questionable nature. His brief eulogy is as follows:
1. "Concealed by the brilliance of the master, the disciple Ghoshanandikshamaṇ is one who knows the eleven limbs."
2. "Through the teachings of the great vocalizer, the disciple of Kshamanuṇḍapa, the renowned disciple of the teacher known as Vachakaacarya."
1. For further clarification, refer to the appendix of this introduction.
2. See footnote 2 on page 13 of this introduction.
3. As in the case of the Digambaras with Gṛdhrapiccha, etc., and in the Svetambaras with the authors of five hundred texts, etc.