An Investigation Of Textual Sources On Samavasarana - Book Summary

Here's a comprehensive summary of Nalini Balbir's "An Investigation of Textual Sources on the Samavasarana" in English, based on the provided text:

This paper by Nalini Balbir undertakes a detailed examination of the textual sources concerning the samavasarana, a pivotal concept in Jainism. The author aims to understand the Jain conception of this "holy assembly" and, more broadly, the classical Indian notion of "sacred space," by analyzing the rich textual material available.

Introduction:

Samavasarana's Significance: Balbir begins by defining samavasarana as a technical term for Jainas, symbolizing the Enlightenment (kevala-jnana) of a Jina, followed by their universal preaching. It represents community and is often embodied in temple art through circular, tiered structures or flat mandalas.
Scholarly Context: The paper notes that while art historians have studied the samavasarana's visual representations, a deeper investigation of the textual sources is crucial, especially since written accounts often predate visual ones. Balbir intends to examine the textual material in its variety, prioritizing Śvetāmbara sources but acknowledging Digambara contributions.
Early Canonical Usage: In the earliest Jain scriptures (Angas and Upangas) of the Śvetāmbara tradition, the substantive samavasarana is less frequent than the verb, primarily used in stereotype formulas to describe a Jina's arrival and preaching. The Aupapātika-sūtra's section titled "samavasarana" is identified as the first substantial description, focusing on the preaching event itself as a "speech-act." A key feature is the Jina's language (Ardhamāgadhi) having the ability to transform into each listener's own language, facilitating communion. Dialogue and the explanation of past births are also noted as early elements. At this early stage, samavasarana refers to the solemn preaching event, not a physical structure.

The Samavasarana-Tract in Exegetical Literature:

The Archetype: Balbir identifies a key "tract" or "block" of 52 Prakrit verses found in early Jain exegetical literature (Avasyakaniryukti and Bṛhatkalpabhāṣya) as the archetype of the classical Śvetāmbara samavasarana. This tract serves as the pattern for many later Śvetāmbara accounts.
Context and Structure: These exegetical texts (niryuktis and bhāṣyas) are described as "pseudo-exegetical," meaning they often introduce unexpected topics or lack expected explanations. The samavasarana-tract in the Bṛhatkalpabhāṣya appears as an unexpected excursus, suggesting its pre-existing recognition and importance. In the Avasyaka-niryukti, the tract is integrated into the "Universal History" section, logically connecting to Mahavira's attainment of omniscience and his subsequent preaching.
Stratification and Evolution: The paper highlights that we don't have an "Ur-samavasarana-tract" but rather reworked versions. The textual material includes the Prakrit verses, Prakrit prose commentaries (Av.-cūrni), and Sanskrit commentaries. The existence of references to now-extinct sources indicates earlier discussions and debates among specialists. Differences in opinion among commentators are noted, particularly concerning the segmentation of the tract's initial program list and the inclusion of specific verses, suggesting textual layers and additions over time. Verses 3-6 and 9-10, for instance, are identified as later insertions in the Avasyaka-niryukti, absent in the Bṛhatkalpabhāṣya and Av.-cūrṇi.

Discussion of Specific Issues:

Samavasarana as Sacred Space:
- Divine Architects: Gods are the primary agents in constructing the samavasarana, a reflection of their involvement in major Jina life events. The description draws on the four classes of gods: Bhavanavasin, Vyantara, Jyotiska, and Vaimanika.
- Separation and Structure: The sacred space is established by inferior gods through purification. It is characterized by three concentric walls, defining zones of increasing sanctity towards the center. While the geometric shape (circular or square) isn't explicitly fixed in the tract, the circular form is more attested and aligns with cosmological ideas.
- Hierarchy and Orientation: The space is organized hierarchically, with a strict etiquette governing the placement of beings. The east is the most important direction, where the Jina enters and faces. The organization reflects a cosmological map, with different divine and human groups assigned specific quarters based on their spiritual attainment and entry point. The pradakṣiņa (circumambulation) is a key ritual.
- Replicas and Inclusivity: To ensure everyone feels addressed, the Jina's presence is replicated in the other three directions, echoing the caumukha concept. This emphasizes the samavasarana's aim to be a truly universal assembly.
- Posture and Hierarchy: Within the quarters, posture (standing or sitting) further defines sub-hierarchies, with monks and male religious members allowed to sit, while goddesses and nuns stand. This aspect is debated by commentators and informed by iconographic evidence.
- Ritual Aspect: A magico-religious rite involving offerings (bali) marks the final phase. These offerings symbolize the exchange between the Jina and the audience, reinforcing cohesion. The act of sharing and the emphasis on preserving the "holy contact" are akin to later Jain and Hindu practices.
- Samavasarana and Jaina Dogmatics: The tract emphasizes fundamental Jain doctrines. The Jina's preaching aims at spiritual progress, outlining stages of renunciation (full and partial) and right knowledge/faith. The qualities of dana (gift) are extolled, with specific roles for announcers of the samavasarana. The Jina's actions, like paying respects to the tirtha (community/scripture/knowledge), are explained as upholding tradition. The Jina's unsurpassed beauty is attributed to the karma theory (namakarman) and the practice of the Law (dhammodaeṇam rūvam). The Jina's simultaneous preaching to all is explained by his omniscience and extraordinary voice, facilitating continuous listening. The role of the ganadharas (chief disciples) is to continue the tradition and answer questions, their skill masking their human limitations.

Other Textual Material on Samavasarana:

Balbir then surveys other categories of texts containing information about the samavasarana:

Descriptions of Single Samavasaranas: This is the richest category, found in narrative literature and described as a common episode in "Universal Histories." These accounts detail specific samavasaranas of various Jinas, often following their attainment of omniscience. Examples from both Śvetāmbara (Vasudevahindi, Kuvalayamala, Paumacaria, Cauppannamahapurisacariya, Mahaviracariya, Parisistaparvan, Parsvanathacarita, Satrunjayamahatmya, Mallinathacarita, Jambūsāmicariu) and Digambara traditions (Padmacarita, Adipurana, Harivamsapurana, Tamil Puranas) are discussed, highlighting variations in details, emphasis, and literary style.
Works on Cosmology: Samavasarana descriptions appear here when cosmology is discussed within the context of "Universal History," often with precise measurements and systematic descriptions, particularly in Digambara texts like the Trilokaprajnapti.
Modus Operandi for Construction: Medieval vastusastra texts describe the practical construction of samavasarana structures within temples, often in front of the Jina's image.
Inscriptions and Allied Literature: Inscriptions on stone structures or bronze images record the installation of samavasaranas. Historical accounts (prabandhas) mention samavasarana sponsorships by prominent figures.
Hymns: Numerous hymns (stava, stotra) dedicated to the samavasarana exist, combining elements from the older tracts with new architectural descriptions and personifications.

Remarks on the Survey:

Śvetāmbara vs. Digambara: A clear distinction exists between the two traditions. While the basic conception and core elements (like the central Aśoka tree) are shared, the components and technical vocabulary differ. Digambara sources are often more complex, featuring elements like the dhālishala, gandhakuri, and manastambha, and a greater emphasis on the celestial nature of the samavasarana. Digambara accounts attribute organization to a specific god (Kubera), while Śvetāmbara accounts mention classes of gods.
Symbolism and Significance: While many sources describe the physical layout and components, few offer detailed doctrinal explanations or symbolic interpretations of each element, unlike some Buddhist texts. However, numerical correspondences are used, such as the three umbrellas equating to the three jewels. The samavasarana is seen as a microcosm reflecting the macrocosmos, embodying the quintessence of the universe. Both circular and square shapes are attested, representing an oriented sacred space.
Evolution of the Concept: The samavasarana evolved from a factual description of a sacred assembly and preaching to a fully constructed, ornate architectural marvel, particularly in Digambara tradition, seen as a spiritual counterpart to a paradisiacal town. It became an object of worship in itself, similar to continents or mountains in Jain cosmology, retaining its original meaning but gaining new dimensions. The emphasis on the Jina's physical perfections, often explained through karma theory, became more prominent. The samavasarana is presented as the Jaina archetype of religious assemblies.

Conclusion:

Balbir concludes that the term samavasarana generally refers to any assembly, but technically denotes a sacred outdoor assembly with an emphasis on sacred speech in early canonical literature. Over time, influenced by descriptions of divine palaces and other constructions, it developed into an elaborate fictive structure, especially in Digambara sources. The samavasarana-tract is vital for understanding the early conception of a consecrated, organized, and inclusive sacred space with symbolic central elements. The later development sees a greater focus on architectural features and the Jina's wondrous attributes, creating a spiritual and physical focal point that resonates with the Jain worldview.