Mallinathni Pratima - Book Summary

Here's a comprehensive summary in English of the provided Jain text "Mallinathni Pratima":

The text discusses the significant doctrinal differences between the Shvetambara and Digambara traditions within Jainism, focusing on two key areas: female liberation (stri-mukti) and the sustenance of an omniscient being (kevali-bhukti).

Central Disagreement: Female Liberation and the Status of Mallinath

Digambara View: They believe women cannot achieve liberation (moksha). Consequently, they argue that Marudeva Mata (mother of Rishabhanatha, the first Tirthankara) could not have attained moksha because she was a woman. They consider Bahubali, Rishabhanatha's son, to be the first to achieve liberation in this era. This belief explains the prominent worship of Bahubali's images alongside Tirthankara images in the Digambara tradition.
Shvetambara View: They believe that women, even if in a limited capacity, can attain liberation. They consider Marudeva Mata to be the first to achieve liberation in this era. Crucially, the Shvetambaras believe that Mallinath, the 19th Tirthankara, was a woman (Mallikunvari). They attribute her female birth to a past life where she committed deceit in her spiritual practices.
Digambara Counterargument: They maintain that Mallinath was male. Their reasoning is that if women cannot attain omniscient knowledge (kevalajnana) or liberation, then the concept of a woman becoming a Tirthankara is impossible.

The text acknowledges that this difference of opinion between the two sects is ancient, with no definitive proof to resolve it. Both traditions' past scholars have presented numerous arguments to refute the other's views.

Addressing the Appearance of Mallinath's Images

Given the Shvetambara belief that Mallinath was female, the text then addresses a crucial question: Why are Mallinath's images depicted in a male form, similar to other Tirthankaras? The text offers three main points to explain this:

Beyond Gendered Sensations: Jainism teaches that states of being male, female, or neuter are due to karma. Specifically, the "kashayas" (passions) include female-lust, male-lust, and neuter-lust. At the ninth stage of spiritual development (Gunasthana), a practitioner, regardless of their physical sex, transcends these gendered identities. They lose all awareness, feelings, desires, or impulses related to being male or female. Their spiritual attainment is so high that they feel equal towards all beings and do not experience attraction, affection, partiality, dislike, aversion, or disrespect towards individuals of the opposite sex. Their very countenance is so pure and radiant that it doesn't evoke sexual attraction, respect, partiality, or aversion in others. If this applies to many spiritual practitioners, it would be even more pronounced in a Tirthankara.
The Nature of Tirthankara's "Atishayas" (Special Attributes): Tirthankaras possess unique attributes called "atishayas." While the number and specific types of these atishayas differ between Shvetambara and Digambara traditions, both agree that Tirthankaras have them. These attributes include birth-based, karma-eliminated, and divinely bestowed qualities. Tirthankaras are described as having wondrous forms, pleasant fragrances, being free from disease, sweat, and impurities. Their speech is captivating and understandable to all beings in their own language. Their presence pacifies negative forces and events like disease, enmity, drought, famine, and conflict in their vicinity. Their nails, hair, and body hair do not grow. The text argues that a Tirthankara's body, endowed with these thirty-four extraordinary attributes, is so unique and transcendental that such distinctions as male and female are not applicable.
The Idealized Representation of Tirthankara Images: For these reasons, Tirthankara images, including Mallinath's, are not depicted with harsh masculine features, mustaches, or beards. Instead, Tirthankara images are characterized by serene expressions, a cool radiance like moonlight, maternal affection, compassionate eyes filled with benevolence towards all beings, meditative postures, and profound equanimity. This makes it possible to perceive both feminine and masculine qualities in a Tirthankara's facial features, depending on the viewer's interpretation. This is why, since the inception of Tirthankara image sculpting, the iconography for all Tirthankaras has remained consistent. Tirthankaras always attain nirvana in either the lotus posture (Paryankasana) or the standing posture (Kayotsarga), and therefore, Jin images are always depicted in these two postures. The text reiterates that gender differences are physical, not of the soul. After becoming a Tirthankara, the distinction of male or female ceases to exist. This explains why the Shvetambara tradition has consistently identified Mallikunvari as Mallinath and depicted her image like other Tirthankaras. The text notes an exception of an ancient metal image of Mallinath in female form, housed in the Lucknow Museum. The Shvetambara sect considers Mallinath becoming a Tirthankara as a woman to be an "Acchera" – a rare and wondrous event.