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CHAPTER 1X
PARINĀMA IN THE WORKS OF UMĀSVĀTI
AND, KUNDAKUNDA
The Tattvārtha-Sūtra with its svopajña Bhāşya
(About the 3rd or 4th cent A. D.)
Coming to the post-Agama period, we take up, first, the TSū. of Umāsvāti. As already said, this work occupies a unique position in Jain literary history, because it is a work which is accepted as authentic both by the Svetāmbaras and the Digambaras, which is not the case with the Agamas.
Let us, first, study the relevant passages from this work, bearing on our problem, and then consider what development we can detect in them.
We saw, in our discussion on the Āgama-material, that the Paryāya-Pariņāma theory is intimately connected with the concept of Dravya. So here also, we must, first, try to understand what Dravya means. We saw that older Āgamas, nowhere, clearly define Dravya. It is only, later, in the Ut. Sū., that we get the definition of Dravya, Guņa, and Paryāya. In the Tattvārtha, Dravya is. defined, as an entity possessing Guņa and Paryāya. This definition, by bringing in the aspect of Paryāya, makes the concept of Dravya, more consistent with the Jain tradition than that of Dravya given in the Ut. Sū. The latter defines substance as the substratum of qualities. The analysis of reality into Dravya and Paryāya is a Jain concept, while the analysis of reality into
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