An Investigation Of Textual Sources On Samavasarana

Author(s): Nalini Balbir
Publisher: Nalini Balbir

Page 17

NALINI BALBIR
AN INVESTIGATION OF TEXTUAL SOURCES ON THE SAMAVASARANA
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tary. It offers an interesting combination of features imported from the old tract and from other sources. In their contents and wording its verses 4,22 and 23 clearly be tray the influence of the tract (vss. 7-8, 12 and lab respectively). The Av.-curņi and vitti are explicitly referred to and quoted (vs. 17) in the discussion concerning the posture (sitting or standing) of certain members of the assembly (see above 1.4.1). On the other hand, the architectural aspect is a new element: the distinction between two possible shapes of the samavasarana-space (round / square) and their consequences on the organisation of the components are considered (vs. 5ff.). The personification of some decorative elements (e.g. the banners, vs. 13) and the mention of individual gods and goddesses along with their attributes in the function of dvărapăla.s (vss. 19-21) probably come from the iconographic tradition. This work seems to have been highly reputed: it has obviously inspired the first part of Jinaprabha's Vividhatirthakalpa No. 46, and in certain manuscripts of the VTK it follows Jinaprabha's own tract.
Vişnusena's Samavasarana-stotra is a representative of the Digambara tradition in Sanskrit. This literary composition using different metres for its 63 verses de scribes the various elements of a samavasarana (going from the centre towards the outer part), their sophisticated ornamentation, their number or measurements, following the pattern of the Trilokaprajñapti (above 2.1.2), of which one verse (4.808) is quoted. The popular motif of perfect harmony between natural foes is present (vss. 58-59).
The Digambara samavasarana has elements such as the dhalisala (a pavillion located outside the precinct), the gandhakuri (name given to the central part where the Jina is), or the manastambha," to mention only a few important ones, which are specific to it. The Digambara samavasarana, with its forests and lakes, is comparable to a full-fledged town or a paradise and includes derived elements. Its structure is much more complex than its Svetambara counterpart. On the other hand, the Digambara sources ascribe the organisation of the samavasarana to a particular god, viz. Kubera, who prepares it following Indra's command, the Svetambara works speak in terms of classes of gods. Digambara authors also unambiguously state that the samavasarana takes place in the sky: the Sudamsanacariu (1.9.1) specifies the distance above the ground; elsewhere we read that those who want to watch a samavasarana have to raise their eyes. The absence of all these features in a given work can be regarded as a proof that it is not of Digambara affiliation. However, contamination cannot be totally excluded (see above 2.1.5).
2.2.2. No category of works throws any substantial light on the significance of the various elements making a samavasarana. None of our sources is similar to a treatise such as the Buddhist Kriyasamgraha or the Stupa-laksana-karika-vivecana investigated by M. Bénisti and G. Roth respectively." They provide us with a 'stūpastructure-cum-doctrinal-notion-symbolism (G. Roth, p. 197) and give a systematic 'catalogue' (ibid. p. 186) of homologies between a specific element and a dogmatic concept. However, a few hints of this type are quite rarely found in some of the later Jaina descriptions and seem to be confined to them). As in the Buddhist tradition, the numerical correspondence plays a fundamental part in these symbolic identifications. Thus, for instance, the three umbrellas (chattra-traya) are equated with the three jewels (tri-ratna) of the doctrine. In other cases, there is no precise correspondence, but only the general idea that the various architectural components of a samavasarana do have a religious part to play or are auspicious and contribute to spiritual progress. Thus, the dharma-cakra, compared to the full disc of the sun,
2.2. Remarks on the survey 2.2.1. The convenient distinction between Svetambara and Digambara sources is fully justified. The accounts of both sides indeed exhibit a basically similar conception of the samavasarana and some common basic elements, for instance the central asoka-tree. But a mere perusal is sufficient to show that there are differences in the components and in the technical vocabulary used by authors of both trends.
It has been edited and studied critically by D.R. Bhandarkar: "Jaina Iconography: II. Samava sarana", Indian Antiquary 40 (1911) p. 125-130 and 153-161.
"Compare VTK vs. 6 and Dharmaghoşa vs. 7; vs. 9 of both texts; VTK vs. llab and Dharmaghosa vs. 10.
P. 133-139 in Siddhdniasdrddisamgraha ed. by Pannalal Soni. Bombay vikram sam. 1979 (Manikcand Digambara Jaina Granthamáls 21).
"On which see, briefly, K. Bruhn, "The Concept of mana (Pride) in Jaina Dogmatics": Jain Studies in Honour of Jozef Deleu. Tokyo 1993, p. 200; U.P. Shah, Srudies in Jaina Art p. 60.
"Jo samosarana lacchië uljoio, uddha-dihihi niyadehi punu folo, Jambūsāmicariu 1.15.9.
See references in n. 8 above. Asaga, Santināthapurana 12.45.