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It has been mentioned. Among them is Dharmakirti from the seventh century. That is, he did not exist before the seventh century, this much is certain. On the other hand, the scholar Shila from the ninth century has referred to him as Gandhahasthi. This indicates that he must have existed at some time before the ninth century. Siddhasena's teacher was Singh Sur Gani Kshamashramana, who was a writer of the biography of Siddhasena Nayayachak. Singh Sur certainly existed in the middle of the seventh century of Vikram, therefore the time of Siddhasena appears to be from the last foot of the seventh century of Vikram to the middle part of the eighth century. Siddhasena has mentioned the book 'Siddhivinischaya' in his biography, which belongs to Akalanka, hence it should be said that Akalanka and Siddhasena were contemporaries. It is also possible that Siddhasena saw Akalanka's Rajavartika.
Haribhadra, the author of the brief commentary on Tattvarthabhashya, is Haribhadra. This commentary has been published by the Shree Rishabhadevji Kesromal Ji institution of Ratlam. This commentary is not solely the work of Haribhadraacharya, but at least three Acharyas participated in its composition. Among them is Haribhadra. The thoughts of this Haribhadra are presented here. In the Shvetambara tradition, there have been many Acharyas named Haribhadra. Among them, those who are specifically mentioned by Shilank in his commentary on Sutrakritanga (p. 215) are also referred to by Siddhasena.
1. Even the Bhikkhu Varadharmakirti has raised objections stated in Pragavinishcaya.
2. See the present introduction, p. 33, note 3.
3. The author of this commentary may be more than three. Haribhadra, Yashobhadra, and the disciple of Yashobhadra are definitely three, but based on the end of the eighth-ninth chapter's appendix, others may also be imagined: "Thus, in the treatise initiated by Haribhadra, named Dupadupika in the Tattvaaryatokaya, the ninth chapter is completed."
4. See the introduction of Dharmasangrahani written by Muni Kalyan Vijayji, p. 2 and beyond.