Kya Aryavati Jain Sarasvati Hai

Here's a comprehensive summary of the provided Jain text, "Kya Aryavati Jain Sarasvati Hai" by Prof. Sagarmal Jain, in English:

The book chapter, "Is Aryavati Jain Sarasvati?" by Prof. Sagarmal Jain, delves into the identification of deities depicted in Jain art from Mathura. Building on his previous articles about Sarasvati in Jain Agamic literature and her worship in Jainism, the author specifically examines two stone plaques from the Kankalitila Jain stupa in Mathura. These plaques, dating to around the 1st century BCE or 1st century CE, feature sculptures of a goddess identified as "Aryavati." The central question explored is whether these sculptures represent the Jain Sarasvati or the Jain Shruta Devi (goddess of knowledge).

The author highlights that the identification of "Aryavati" has remained unresolved among many Indian and Western archaeologists. This is because the name "Aryavati" is not found in ancient Jain Agamic literature or its interpretive texts. Furthermore, the author states that he found no mention of "Aryavati" in non-Jain Buddhist or Brahmanical literature either, prompting the current article to seek scholarly review.

The text emphasizes that important Jain Agamic texts like the Bhagavati Sutra clearly mention "Suyadevata" (Shruta Devi) and Sarasvati. However, these references indicate that Shruta Devi and Sarasvati were considered attributes or forms of "Jinavani" (the teachings of the Jinas, or divine speech) rather than a separate goddess. The author points out that even concepts like Ahimsa (non-violence) and Satya (truth) are presented as "Bhagavati" or "Bhagavan" in Agamas, signifying reverence, not a distinct deity. Similarly, "Shruta Devi" is an embodiment of "Shruta" (knowledge), and terms like "Bhagavai," "Bhagavan," or "Devata" were primarily honorific epithets.

Initially, Sarasvati and Shruta Devi were symbolic representations of Jinavani and Shruta, respectively, not personified deities. However, over time, Shruta Devi and Sarasvati began to be regarded as specific goddesses and became objects of worship. The sculptures from Mathura, including a Jain Sarasvati statue from the 2nd century CE and the two "Aryavati" plaques from the 1st century BCE or 1st century CE, suggest that by the 1st century BCE, Jinavani/Shruta Devi (possibly referred to as Aryavati) and Sarasvati had become accepted as goddesses for worship. The plaques are believed to represent an earlier stage of this worship, followed by the creation of the Sarasvati statue.

The author then details a significant Jain Sarasvati statue from the 1st-2nd century CE found in Mathura. This two-armed statue holds a book, and its inscription clearly mentions "Sarasvati." The statue's consecration by Aryahastihasti (Naga-hasti), a disciple of Gani Maghasti, who was a disciple of Ary Maghasti, is crucial. Maghasti and Naga-hasti were prominent Jain acharyas of the 1st century CE. The inscription, starting with "Siddha," states that this statue was donated and consecrated by a goldsmith named Simha on the tenth day of the fourth month of winter in year 54 (possibly of the Shaka era). This statue, though the upper part of the neck is broken, is considered the world's oldest Sarasvati statue and is definitively linked to Jainism. The statue is seated, holding a book in one hand, and the other hand appears to be in a boon-granting gesture. Alongside the statue are figures of a Jain monk and a householder.

The text then proceeds to analyze the two "Aryavati" plaques. Both plaques are inscribed and unequivocally related to Jainism, with one inscription beginning "Namo Arhato Vardhamanasya" and the other "Siddham." The central mystery remains the identity of the goddess "Aryavati" and her connection to Jainism. While some scholars have attempted to identify her as a Tirthankara's mother, this explanation remains unsatisfactory.

First Plaque: This plaque depicts "Aryavati" standing, with one hand in a boon-granting posture and the other on her waist. She is accompanied by attendants holding a chaur (fly-whisk), an umbrella staff, and garlands. Below Aryavati, a child or man is shown in a नमस्कार posture. The inscription, in Brahmi script, states that the statue of Aryavati was consecrated for the worship of the Arhat by Pal's wife, Amoniyaha, a daughter of Harita, in the forty-second year of Swami Mahakshatrapa Sodas, during the second month of winter. The author notes that "Arhat" seems more appropriate than "Arhato," as followers of Jainism were called "Arhatas." The inscription confirms the Jain connection by stating that Aryavati is "for the worship of the Arhat." However, the specific form of worship of Aryavati by Jains remains an open question.

Second Plaque: This plaque, partially broken, features a stupa in the upper section with Tirthankara figures on either side, accompanied by inscriptions above and below. To the right, the sculpture of "Aryavati" is similar to that on the first plaque. Next to Aryavati stands a Jain monk, identified as Aryakanha, holding a picchika (feather whisk) and a garment covering his mouth. Smaller figures are depicted near him, including a person with a snake hood (possibly Balrama, as suggested by the author, though this is later debated) and what appears to be a female ascetic (Aryika) with a picchika and mouth cloth. The author suggests that the presence of Balrama with a snake hood might be linked to his association with Aryakanha, drawing a parallel with Hindu iconography. However, the author clarifies that "Aryakanha" is the name of a Jain acharya mentioned in texts like the Kalpasutra and Avasyakabhashya.

A noteworthy observation common to the Sarasvati statue and both plaques is that only householders are shown in the posture of folded hands, while the monks are depicted with their possessions.

The inscription on the second plaque reads: "Siddham. On the 18th day of the second month of summer in year 95 (likely Vaishakha Shukla Tritiya or Akshaya Tritiya of Shaka era 95), by the daughter of Grihadatta and wife of Dhanahastishreshthi, a disciple of Arya Arhat (dinna) of Kottiyagana, Sthanikakula, Vaira branch (gift of knowledge)." The presence of the word "Kanh" in large letters between the goddess and the monk suggests it depicts Aryakanha. The mention of "Vidya" (knowledge) near the goddess's depiction raises the possibility that it refers to "Vidya" itself.

This leads to the crucial question: are "Aryavati," "Vidya," and "Sarasvati" distinct goddesses, or are they synonymous names for one deity? The author, initially uncertain, found a reference in "Bharatiya Shilpa Samhita" by Prabhakar Sompura, which lists twelve synonyms for Sarasvati. These include Mahavidya, Mahavani, Mahabharti, Arya, Sarasvati, Brahmi, Mahadhenu, Vedagarbha, Ishvari, Mahalakshmi, Mahakali, and Mahasarasvati. This discovery suggests that in ancient times, Sarasvati was known by various names such as Vidya, Arya (vati), and Sarasvati. The mention of "Arya Bhasha" and "Anarya Bhasha" in Jain traditions further supports the idea that "Aryavati" and "Vidya" might have been alternative names for Sarasvati. Additionally, ancient Jain Prakrit texts are often written in the "Arya" meter, implying a connection between "Arya" (and thus "Aryavati") and "Samyak Jnana" (right knowledge), or Jinavani, suggesting it's an epithet of Sarasvati. Based on this evidence, the author concludes that the depictions of Vidya and Aryavati in Mathura are indeed representations of Sarasvati.

The chapter then presents a table listing the twelve forms of Sarasvati, their attributes, and corresponding names, as described in the text "Dvadash Sarasvati Swarupani" (Devata-murti Prakaranam). This table further reinforces the interconnectedness of these names and forms.

The final section of the provided text includes an excerpt from a paper by Dr. Anita Bothra titled "Hindu and Jain Vratas: A Reacting Account," which discusses the interaction and reciprocal influences between Hindu and Jain traditions, particularly concerning vratas (vows or observances). While this section is not directly about the identification of Aryavati, it frames the broader context of comparative religious studies and the dynamic relationship between these two prominent Indian traditions.

In essence, Prof. Sagarmal Jain's article argues that based on textual evidence and iconographic analysis, the "Aryavati" sculptures from Mathura are most likely representations of the Jain goddess Sarasvati, or an earlier form of her worship, possibly as a personification of Jinavani or knowledge.