Jain Parampara Me Bahubali

Here's a comprehensive summary of the Jain text "Jain Parampara me Bahubali" by Sagarmal Jain, focusing on the provided pages:

Overall Theme: The Reverence for Bahubali in Jain Tradition

The book explores the life and significance of Bahubali, son of the first Tirthankar Lord Rishabhdev, within the Jain tradition. It highlights that while both Digambar and Shvetambar traditions revere Bahubali, the Digambar tradition holds him in significantly higher regard, evidenced by the colossal Gommateshwara statue at Shravanabelagola.

Differential Reverence Between Digambar and Shvetambar Traditions:

• Digambar Tradition: Bahubali is highly honored and worshipped with statues similar to those of Tirthankaras in many Digambar Jain temples. The massive statue at Shravanabelagola is a prime example of this profound respect.
• Shvetambar Tradition: While Bahubali is respected, his statues are less common in Shvetambar temples. When found, such as the 11th-12th century statues in Vimalvasahi (Mount Abu), Adinath temple (Shatrunjay/Palitana), and Shantinath temple (Kumbhariya), they are typically not worshipped with the same veneration as Tirthankara images. The Shvetambar tradition tends to favor Bharat, Bahubali's brother, as a role model.

The Psychological Reason for the Difference: Two Distinct Life Philosophies

The author posits a psychological reason for this difference: the contrasting life philosophies embodied by Bharat and Bahubali.

• Bharat: Embodies the ideal of Nishkam Karmayog (selfless action). He is depicted as a detached performer of his worldly duties, like a lotus unaffected by the water it resides in. While he engaged in worldly affairs and even conflict to protect his empire, inwardly he remained detached. His remorse after his brothers' renunciation and his eventual attainment of Kevala Jnana (omniscience) in the Arisa building without arduous external penance or renunciation highlight this philosophy. The story of the goldsmith, where Bharat illustrates his detachment by carrying a full pot of oil through a decorated city without spilling a drop, symbolizes how he remained unaffected by worldly distractions while performing his duties. The Shvetambar tradition's emphasis on detachment from external possessions (as indicated by their interpretation of 'parigraha' as 'moorchha' or attachment) made Bharat's life ideal more compatible with their doctrines.
• Bahubali: Represents a life of Nivritti (renunciation) and intense Tapas (austere practice). He is a king who upholds his pride and is ready to fight his elder brother for his dignity, leading to a profound sense of dispassion (Vairagya) after witnessing the violence and the death of his younger brother. His life is characterized by extreme asceticism, exemplified by the imagery of vines and anthills covering his body while he remains steadfast in meditation. This rigorous renunciation makes him a supreme ideal of Nivritti.

Development of Bahubali's Narrative in Jain Literature:

• Shvetambar Tradition: While foundational texts like the Sthanangasutra and Samavayasanga mention Bahubali's height and lifespan, they offer little narrative detail. Jambu-dvipa Prajnapti describes Bharat's conquests. The Kalpa Sutra details Rishabhdev's life but not Bahubali's. However, later Shvetambar literature extensively narrates Bahubali's life. Works like Vimalasuri's Pauumachariu, Sanghadasagani's Vasudevahindi, Shialanka's Chauppanna Mahapurusa Charitiam, and Hemachandra's Trishashtishalakapurusha Charitra detail his story. Independent works like Punyakusalagani's Bahubali Mahakavya and Rajasthani/Hindi compositions like Shalibhadra Suri's Bharateshwar Bahubali Ras and Amarikshi's Bharatmukti Kavya also prominently feature him.
• Digambar Tradition: Digambar literature, particularly mythological texts, extensively narrates Bahubali's glories. Works like Harisena's Padmapurana, Swayambhu's Paumacariu, Jinasena's Adi Purana, Ravisen's Padmapurana, and Punnata Sanghiya Jinasena's Harivansha Purana all contain detailed accounts of Bahubali's life. The Bharateshwar Bahubali Vritti and Shatrunjaya Mahatmya also mention him. Two independent works titled 'Bahubali Charitra' exist, one by Bhattarak Charukirti (Digambar) and another of likely Shvetambar origin.
• Kundakunda's Mention: The Digambar tradition's earliest mention of 'maan' (pride) in Bahubali during his ascetic period is found in Kundakunda's Bhava Pahud. However, the specific nature of this pride is not clarified.

Key Episodes and Differences in Interpretation:

The book highlights two primary events in Bahubali's story: the conflict with Bharat and his subsequent asceticism and attainment of Kevala Jnana.

• The Conflict with Bharat:

  • The Challenge: Bahubali rejects Bharat's demand for submission, leading to a confrontation. His responses to Bharat's envoy, Suvega, are characterized by sharp logic and dignity. The vivid description of citizens whispering as Suvega departs is noted.
  • The War: Shvetambar authors like Sanghadasagani, Jinasena, Shialanka, and Hemachandra focus on the absence of direct military engagement between Bharat and Bahubali's armies, suggesting non-violent means or highlighting individual duels. Vimalasuri's Pauumachariu and the Bharateshwar Bahubali Ras do mention the armies' clashes.
  • Digambar Perspective: Digambar authors generally include the battle between the armies. Jinasena in Adi Purana doesn't mention it, but Punnata Sanghiya Jinasena and Ravisen do. Various creative solutions for non-violent conflict are proposed, including Bahubali's own suggestion of a duel, ministerial proposals, and divine intervention.
  • The Chakra Incident: Bahubali's defeat in visual and water combat leads to a lashing out, where he uses the chakra against Bahubali. Bahubali's reaction to this transgression by Bharat leads to his renunciation. This event is commonly depicted in both traditions.

• Bahubali's Asceticism and Kevala Jnana:

  • The "Shaalya" (Obstacle) Debate: A key point of divergence is whether Bahubali had a "shaalya" (an internal psychological thorn or obstacle) during his ascetic practice, and whether his younger sisters, Brahmī and Sundarī, played a role in its removal.
    • Shvetambar View: Shvetambar traditions (Vimalasuri, Vasudevahindi, Niryukti, etc.) unanimously state that Bahubali possessed "maan" (pride/ego) and that Brahmī and Sundarī awakened him, urging him to descend from his elephant and realize that Kevala Jnana is not attained on an elephant. This awakened his conscience, leading him to seek his brothers and attain Kevala Jnana. They are presented as Sadhvis (nuns).
    • Digambar View: Digambar traditions present differing views. Jinasena and Ravisen do not mention any "shaalya." Kundakunda refers to "maan kashaya." Swayambhu mentions "shaalya." Some Digambar scholars, like those whose views are cited, suggest Bharat, aware of Bahubali's "shaalya" (identified as being on Bharat's land), brings Brahmī and Sundarī to Bahubali. Bharat humbly submits to Bahubali, and after this, Bahubali attains Kevala Jnana. In this interpretation, Brahmī and Sundarī are depicted as Shravikas (lay followers), and their role is seen as initiating the removal of the obstacle through Bharat's humility and their own words. The "shaalya" itself is interpreted differently: either as a sense of inferiority (shaalyaglani) or resentment towards Bharat.

Conclusion:

The text concludes by emphasizing that both Jain traditions have adapted Bahubali's narrative to fit their respective philosophical frameworks. However, the sheer intensity of Bahubali's rigorous asceticism, his victory in both external and internal battles, and his unwavering resolve make him an awe-inspiring figure who commands profound respect in both traditions, particularly within the Digambar tradition. He is presented as a truly invincible personality who conquered both his external adversaries and his inner enemies through solitary practice.