Paum Chariyam Ek Sarvekshan

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Book Title: Paum Chariyam: Ek Sarvekshan (A Survey of Paum Chariyam) Author: Prof. Sagarmal Jain Publisher: ZZ_Anusandhan

This article, "Paum Chariyam: Ek Sarvekshan" by Prof. Sagarmal Jain, is a comprehensive survey and analysis of the Jain tradition's engagement with the Ramayana narrative, focusing primarily on the Paum Chariyam by Vimalasuri.

1. The Ubiquity of the Ramayana Narrative: The author begins by highlighting the profound influence of Lord Rama and Krishna on Indian culture. The Ramayana tradition is prevalent not only in India but also in neighboring Eastern countries, with ongoing traditions of its staging. It is found in Hindu, Jain, and Buddhist religious traditions. While Valmiki's Ramayana is considered the oldest and the foundational text for the Hindu tradition, other significant Hindu works include the Padmapurana (Sanskrit) and Tulsidas's Ramcharitmanas (Hindi).

2. Jain Literature on the Ramayana: The Jain tradition has produced a vast body of literature on the Ramayana. The Paum Chariyam by Vimalasuri, composed in Prakrit, is identified as the oldest and most prominent Jain text on the subject, believed to be from the 1st century CE. The article notes that most other Jain Ramayana works in Sanskrit, Prakrit, Apabhramsha, Kannada, and Hindi are subsequent to Paum Chariyam. The Buddhist tradition primarily narrates the Ramayana within the Jataka tales, with the Dasharatha Jataka being a notable example.

The article then provides a list of significant Jain Ramayana works by language and author, including:

• Prakrit: Paum Chariyam (Vimalasuri), Chauppannamahapurisarichariyam (Shilanka), Kahavali (Bhadreshwar)
• Sanskrit: Padmapurana (Ravishana), Uttarapurana (Gunabhadra), Brihatkathakosha (Harishena), Trishashtishalakapurushacharita (Hemachandra), Yogashastra-Swopajnavritti (Hemachandra), Shatrunjayamahatmya (Dhaneswarsuri), Punyachandorodayapurana (Krishnadasa), Ramacharita (Devavijayagani), Laghutrishashtishalakapurushacharita (Meghavijaya)
• Apabhramsha: Paumachariu (Swayambhu), Mahapurana (Pushpadanta)
• Prakrit: Vasudevahindi (Sanghadassagani)

It's mentioned that most of these works, with a few exceptions, are published, and over 30 more manuscripts exist. Modern Jain scholars have also written Ramayana works in Hindi, such as Shuklachandraji M.'s Shuklajain Ramayana and Acharya Tulsi's Agnipariksha.

3. Two Major Streams of Jain Ramayana: The article identifies two main streams of Jain Ramayana narrative, emerging around the 9th century CE: * The Vimalasuri Ramayana Stream: Followed by Shvetambara and Yapaniya traditions. * The Gunabhadra Ramayana Stream: Primarily followed by some Digambara scholars.

Works like Vasudevahindi (Sanghadassagani), Padmapurana (Ravishana), Paumachariu (Swayambhu), and Brihatkathakosha (Harishena) are largely seen as following Vimalasuri's Paum Chariyam, though some variations exist, like in Vasudevahindi. Many Shvetambara and some Digambara authors (like Ravishana and Swayambhu) are noted to have followed Vimalasuri.

4. Characteristics of Vimalasuri's Paum Chariyam: Vimalasuri's Paum Chariyam attempts to reconcile the existing Jain Ramayana narrative with the Hindu version in a logical manner. A key aspect is its adherence to scriptural authenticity (Agama). For instance, to align with scriptural accounts where Lakshmana's mother is identified as Kaikeyi, Vimalasuri presents a narrative where Kaikeyi was her maiden name, and Dasharatha renamed her Sumitra after marriage. The primary goal of Paum Chariyam is religious instruction through the story, rather than purely aesthetic enjoyment.

The text aims to correct inconsistencies and embellishments found in the Ramayana. It emphasizes virtuous conduct and downplays violence, hatred, and adultery. The caste system is not emphasized. Notably, the killing of Shambuka is presented as an accidental event by Lakshmana while seeking the Chandrahamsa sword, not a punishment for his asceticism as a Shudra. To maintain Rama's nobility, the killings of Shambuka and Ravana are attributed to Lakshmana. Vali's story is also altered: Vali voluntarily renounces his kingdom, and a doppelganger usurps Sugriva's throne, with Rama then assisting the real Sugriva. The marriage of Vali to Sugriva's wife is omitted to elevate Sugriva's character.

Kaikeyi's demand for the throne is presented as an attempt to prevent Bharata from renouncing asceticism, not out of animosity towards Rama. Rama goes to exile voluntarily to avoid being an obstacle to Bharata. Kaikeyi's character is elevated; she does not demand Rama's exile or Bharata's coronation and eventually takes up asceticism and attains liberation. The episode of Sita requesting Rama to kill the golden deer for its hide is omitted to portray Rama and Sita as innocent and non-violent. Ravana's character is dignified by stating he had vowed not to violate another's chastity without consent, leading him to try persuading Sita rather than using force. The text also criticizes meat consumption, promoting Jain non-violence. Monkeys and Rakshasas are depicted as highly advanced human beings from the Vidyadhara lineage who travel in flying vehicles.

5. Variations and Similarities with Other Jain Authors: Sanghadassagani's Vasudevahindi presents a Ramayana narrative that differs slightly from Paum Chariyam in some episodes, aligning more with Valmiki's version. In Vasudevahindi, Sita is portrayed as the daughter of Ravana and Mandodari, abandoned and later found by Janaka. Many Shvetambara authors followed Vimalasuri, including Ravishana and Swayambhu. Hemachandra, while generally following Vimalasuri, attributes Sita's exile to her drawing Ravana's portrait at the insistence of co-wives, a psychological motivation.

6. Language and Meter of Paum Chariyam: Paum Chariyam is composed in Prakrit. Its language is identified as an archaic form of Jain Maharashtri Prakrit, with influences from Magadhi and Shauraseni. The dominant meter is the Gatha (Arya) meter, an ancient and simple form, though other meters like Skandhaka, Indravajra, and Upendravajra are also used. The language and meter suggest a composition date no later than the 2nd-3rd century CE.

7. Compositional Period of Paum Chariyam: Vimalasuri himself states that the work was composed 530 years after the end of the Dushama (Durasama) period and 3 years and 9 months after Mahavira's Nirvana. If Mahavira's Nirvana is taken as approximately 3 years and 9 months before the start of the Dushama period, this places the composition around Vikram Samvat 60, or the first half of the 2nd century CE. This dating is supported by the presence of Greek loanwords and terms like "dinar" and "Yavana" (indicating Greeks and Sakas), which were prevalent during that era.

8. Vimalasuri and the Sect of Paum Chariyam: A significant debate exists regarding the sectarian affiliation of Vimalasuri and Paum Chariyam. While Shvetambara and some foreign scholars consider it Shvetambara based on internal evidence, some Digambara scholars argue for its Digambara or Yapaniya affiliation due to certain points that seem to contradict Shvetambara views.

The author analyzes arguments for its proximity to the Digambara tradition:

• Opening of the text: Paum Chariyam begins with Shrenika asking Gautama, similar to Digambara tradition, whereas Shvetambara often starts with Jambuswami asking Sudharmaswami. However, the author argues this is not conclusive as ancient traditions had varied starting methods.
• Absence of Mahavira's marriage: The text does not mention Mahavira's marriage, which some scholars see as a Digambara trait. However, the author counters that Mahavira's life is briefly described, and the absence of mention is not definitive proof, as some ancient Shvetambara texts also omit this.
• Absence of Mahavira's embryo transfer: Similar to the above, this is attributed to brevity.
• Mention of five Sthavarkayas (immobile beings): While some Digambara texts mention five, others mention three, and both are found in Shvetambara texts, making this not a decisive factor.
• Concept of 14 Kulakaras: While both traditions recognize 14 Kulakaras up to Nabhiraya, the specific names differ, making it inconclusive.
• Samadhi-marana as a Shikshavrata: Paum Chariyam lists Samadhi-marana as the fourth Shikshavrata, a practice followed by some Digambara figures like Kundakunda, but not universally accepted in the Digambara tradition itself. Shvetambara tradition does not typically list it as a Shikshavrata. This difference in vow classification is not a strong basis for determining tradition due to internal variations.
• Mention of Anudik: The term 'anudik' is found in Paum Chariyam, which is present in some Digambara texts but not Shvetambara Agamas. However, the author points out that the term "anudisai" appears in the Shvetambara text Acharanga, negating this argument.
• Renunciation of clothes during initiation: The text mentions Rishabha and Bharata renouncing clothes at initiation. While this is seen as a Digambara trait, Shvetambara texts also mention the abandonment of adornments, and acceptance of unclothed ascetics (achalata) is accepted by Shvetambaras.
• Number of Naraka (hells): Discrepancies in the number of Naraka are argued to be closer to Digambara commentaries. However, the author states that these details are also found in Shvetambara texts, and later Digambara commentaries might have followed Paum Chariyam.
• The term "Siyambara": The use of "siyambara" for monks is interpreted by some as a Shvetambara indicator. However, the author suggests it might refer to monks who wear clothes, a practice present before the clear sect division. The term is also used for a female ascetic (Sita).

Arguments for its Shvetambara Affiliation: The article then presents evidence for Paum Chariyam's Shvetambara connection:

• Transmission of teachings: Vimalasuri's mention of teachings being received from the 'Jina' through Ganadharas is considered a Shvetambara practice.
• Meru Mountain Tremor: The episode of Mahavira shaking Meru with his thumb is a popular concept in Shvetambara tradition.
• Mahavira's first sermon: The text states Mahavira preached on Vipulachala after attaining Kevala Jnana, whereas Digambara tradition suggests he observed silence for 66 days before his first sermon on Vipulachala.
• Mahavira's feet on lotuses: Mahavira walking on lotuses created by gods is seen as a Shvetambara characteristic, although Yapaniya authors also mention it.
• Twenty causes for Tirthankara-nama-karma: Paum Chariyam lists twenty causes, aligning with the Shvetambara Avasyak Niryukti and Jnatadharmakatha, while Digambara and Yapaniya traditions list sixteen.
• 14 dreams of Tirthankara mothers: The text mentions 14 dreams, consistent with Shvetambara tradition, while Yapaniya and Digambara traditions count 16.
• 64,000 queens for Chakravartins: The text mentions 64,000 queens for Bharata and Sagara, contrasting with the Digambara tradition's 96,000.
• Names and order of Baladevas: The names and order of Baladevas in Paum Chariyam match Shvetambara tradition.
• 12 Devlokas (heavenly abodes): The mention of 12 Devlokas is in line with Shvetambara belief, whereas other traditions count 16.
• Nine substances (dravyas): The definition of Samyakdarshana based on knowing nine substances, with no mention of seven, is seen as a Shvetambara inclination, as the prominence of nine substances persisted in Shvetambara tradition due to following older Agamas.
• Kaikayi attaining liberation: The most significant evidence for its Shvetambara connection is Kaikayi attaining liberation, supporting the concept of female liberation, which contradicts the Digambara tradition. However, the author notes that Yapaniyas also accept female liberation.
• "Dharmalabha" as a blessing: The text uses "Dharmalabha" as a blessing from monks, which is a Shvetambara and Yapaniya practice, unlike the Digambara "Dharmavriddhi."
• Lineage of Vimalasuri: Vimalasuri identifies himself as a descendant of the Nila (Nagendra) lineage, a disciple of Rahu, and a student of Vijaya. The Nila lineage is recorded in the Shvetambara Kalpasutra Sthaviravali, indicating his connection to the Shvetambara tradition. The author notes that Digambara tradition does not mention the Nagendra lineage.

Conclusion on Sectarian Affiliation: Based on the internal evidence, the author concludes that Paum Chariyam primarily aligns with the Shvetambara tradition, particularly due to the acceptance of female liberation and other consistent points. While some arguments for Digambara affiliation exist, they are considered weaker or attributable to shared ancient roots. The author suggests that Vimalasuri predates the clear sectarian divisions and can be considered an ancestor to both Shvetambara and Yapaniya traditions, with Shvetambaras more readily claiming him due to his lineage and the clear alignment of his work. Yapaniyas, while following his work, did not explicitly acknowledge him as their own, perhaps due to stylistic (language) or minor doctrinal differences. The use of "siyambara" is interpreted as referring to monks wearing clothes rather than a specific sect.

In essence, the article provides a detailed scholarly exploration of the Paum Chariyam, its significance in Jain literature, its unique narrative choices, its linguistic features, its dating, and its complex relationship with the various Jain sectarian traditions, ultimately arguing for its deep roots in the early Jain tradition that predates distinct Shvetambara and Digambara divisions, but with a stronger leaning towards Shvetambara lineage.