Arddhmagadhi Agam Sahitya Me Shrutdevi Sarasvati

Here's a comprehensive summary of the Jain text "Arddhmagadhi Agam Sahitya me Shrutdevi Sarasvati" by Sagarmal Jain:

The book "Arddhmagadhi Agam Sahitya me Shrutdevi Sarasvati" by Sagarmal Jain explores the presence and evolution of the concept of Sarasvati, particularly as Shrutdevi (Goddess of scripture/knowledge), within the Jain tradition, focusing on the Ardhamagadhi Agam literature.

Key Points and Arguments:

• Jainism's Core Focus: Jainism is presented as a spiritually oriented, ascetic, and renunciation-focused religion, with Arhats as the primary objects of worship. Early Jain texts, especially the Ardhamagadhi Agams, primarily direct the worship of Arhats.
• Early References to Deities: While the Ardhamagadhi Agams mention Yakshas, there are no instructions for monks to worship them. Lay followers might have worshipped Yakshas for material benefits, but this wasn't part of Jain ascetic practice. Later Jain rituals did include their worship.
• Early Devi Figure (Aryavati): The earliest known Jain representation of a goddess is on a Jain ayagapatt (a votive tablet) from Mathura (around the 2nd century CE). A Jain monk and devotees are depicted with a goddess, identified in the inscription as Aryavati. Some scholars consider her a Tirthankar mother.
• Mahavidyas and Yaksha-Devatas: Ardhamagadhi Agams first mention Mahavidyas (great knowledge-related powers). However, the concept of twenty-four Yaksha-Yakshinis (Shasan-devatas) and other deities like Nav Narada, Eleven Rudras, Dikpalas, Lokantikadevas, Navagraha, etc., emerged in later Jain texts, after the 7th century CE. The Ardhamagadhi Agams, their Niryuktis, and Bhashyas are silent on these specific Yaksha-devatas.
• Evolution of "Vidya" to "Devi": Ancient texts like Sutrakritanga and Rishibhashita mention Vidyas, but these refer to specific intellectual or practical skills and abilities, ranging from language proficiency to levitation. Over time, influenced by Tantric traditions, Jainism incorporated the concept of sixteen Vidyadevis, twenty-four Yaksha-Yakshinis, and other deities. Notably, Sarasvati and Lakshmi are not found among the twenty-four Shasan-devatas.
• Sarasvati and Lakshmi's Early Prominence: Despite their absence from the Shasan-devata list, Sarasvati and Lakshmi held importance early on. Lakshmi is mentioned as the fourth dream of Tirthankar mothers.
• Shrutdevi Sarasvati in Bhagavati Sutra: The Bhagavati Sutra (around the beginning of the 15th shatak) mentions "Namo Suyadevayaye Bhagavatie" (Salutations to the glorious Shrutdevi). The introductory auspicious verses (adyamangal) of the Bhagavati Sutra mention salutations to Brahmi script ("Namo Bambhie Livie") and to scripture ("Namo Suyassa"), but not explicitly to a Shrutdevta. Scholars consider the reference to Shrutdevta (Sarasvati) in the middle auspicious verses (madhyamangal) as a later interpolation, as it's not present in the commentary (vritti) of the Bhagavati Sutra.
• The "Shrutdevta" Concept is Later: The introductory verses of the Bhagavati Sutra explicitly salute Brahmi script and scripture, but not a Shrutdevta. Therefore, the concept of a Shrutdevta is considered somewhat later. It's likely that the Jain concept of a Shrutdevta named Sarasvati emerged after the emergence of the Hindu goddess Sarasvati.
• Archeological Evidence of Jain Sarasvati: Countering this, archaeological evidence from Mathura suggests that if there's any ancient Sarasvati statue in the world, it's a Jain one. This headless statue, holding a book and inscribed with "Sarasvati" in Brahmi script, points to the worship of Shrutdevi or Sarasvati in the Jain tradition by the 1st or 2nd century CE. This statue depicts her as two-armed, holding a book, clearly identifying her as Sarasvati or Shrutdevi.
• Sarasvati as an Adjective for Jinavani: The word "Sarasvati" appears in the Bhagavati Sutra (9th century) not as a goddess but as an adjective for Jinavani (the teachings of the Jinas, i.e., scripture), implying it is rich in meaning and essence.
• Sarasvati in other Agams: The Jnātādharmakathā mentions "Sarasvati" as the name of a goddess in one of its studies, and Vipāka Sutra mentions a queen named Sarasvati. However, these mentions are brief and may not represent the Shrutdevi concept. The name "Sarasvati" also appears as the wife of Gandharva-Indra Gitavritti in Bhagavati Sutra and Sthānānga Sutra.
• Evolution from Scripture to Shrutdevi: In the Ardhamagadhi Agam literature, Sarasvati was initially mentioned as an adjective for Jinavani (scripture). The salutation "Namo Suyadevayaye Bhagavatie" likely refers to this Jinavani, with "Shrutdevi" being a later conceptualization of an presiding deity over scripture. The concept evolved from scripture itself to a Shrutdevta, and then to Sarasvati.
• "Bhagavati" as a Term of Respect: The terms "Bhagavati" and "Bhagavan" in Ardhamagadhi Agams were primarily terms of respect, not necessarily indicative of divinity. For example, Ahimsa (non-violence) is called "Bhagavati" and Satya (truth) is called "Bhagavan" in the Prashnavyakaraṇa Sutra.
• Incorporation into the Jain Pantheon: When the concept of Shasan-devatas and Vidya-devatas entered the Jain pantheon, "Shrut-devata" also evolved into a "Goddess" and was equated with the Hindu goddess Sarasvati. This likely happened because Jinavani (scripture) was considered "rasavati" (full of essence), leading to Sarasvati being initially a descriptor for Jinavani, then a presiding deity, and finally a distinct goddess.
• Author's Concluding Verses: The concluding verses of the scribe of the Bhagavati Sutra (around the 5th century CE) offer prayers to Shrutdevi, asking her to dispel mental ignorance and grant knowledge.
• Mahanishitha Sutra: The Mahanishitha Sutra is considered the latest among the Ardhamagadhi Agams. It explicitly mentions Shrutdevi. The rescuer of this text, Acharya Haribhadra (8th century CE), in his work Panchashaka Prakarana, lists Shrutdevi as one of nine deities.
• Lack of Sarasvati in Digambara Texts: The author notes the absence of Sarasvati in the initial auspicious verses of major Digambara texts like Kashayapahuda, Shatkhandagama, and works by Kundakunda. Even commentaries on Tattvartha and Shatkhandagama do not mention Sarasvati as a mangala.
• Later Digambara Mentions: Pandit Ashadhar (13th century CE) in his Sāgāradharmāmṛta equates the worship of Shrutdevi with the worship of Jinavani. Acharya Mallisena's Sarasvati Mantrakalpa is considered the first work on Sarasvati worship in the Digambara tradition.
• Śvetāmbara Worship Practices: In the Śvetāmbara tradition, Acharya Bappabhattisuri (around 10th century CE) composed the Sarasvati Kalpa, detailing her worship. Later works include a hymn by Sadhvi Shivaraya and Shri Sharada Stavan by Jinaprabhasuri.
• Iconography: The Achar Dinakar (14th century CE) describes Sarasvati with attributes like a book, rosary, veena, and seated on a swan. The Pratishtha Saroddhara in the Digambara tradition describes her with a peacock as a vehicle. The impact of Vedic traditions on Jain iconography is acknowledged, with the Jain Sarasvati from Mathura initially having only a book, while later statues include a veena.

In essence, the book meticulously traces the historical and literary journey of Sarasvati within Jainism, highlighting her transformation from an adjective for scripture to a distinct presiding deity, Shrutdevi, and finally a recognized goddess, influenced by broader cultural currents but with roots in ancient Jain literature and iconography.