Siddhamatruka Prakaranni Bhumika

Here's a comprehensive summary of the provided Jain text, "Siddhamatruka Prakarani Bhumika" by Shilchandrasuri and Dhurandharvijay, based on the given pages:

This document is an introduction (Bhumika) to the Siddhamatruka Dharma Prakarana, an original work attributed to Acharya Shri Siddhasenasuri. The text is described as profound in meaning yet presented in an accessible manner.

Core Concepts and Significance of Siddhamatruka:

• Definition: The Siddhamatruka is understood as the infallible, primordial mother of all letters (varnas), from 'A' (अ) to 'Ksha' (क्ष). It's considered the foundation of language, and through language, all worldly interactions occur. This "mother of letters" is eternal and never perishes.
• "Bhale Miṇḍī" (भले मींडी): The text begins with a symbol often referred to as "Bhale Miṇḍī" and concludes with "Mangalam Mahāśriḥ." The "Bhale Miṇḍī" symbol is described as auspicious and is sometimes depicted as Kundalini. The exact reason for the term "Bhale" is unclear due to a lack of specific scriptural exposition, but it's recognized as highly auspicious.
• "Siddham" (सिद्धं): The word "Siddham" is used in place of "Kṣemam" (क्षेमं) in a corrupted form, indicating "accomplished" or "perfected."
• Tantric Connection: According to Jain Tantrics, the word "Arhant" is the ultimate Sabdabrahma (word-Brahman). From this emanates the Kundalini Shakti, and from that, the eternal Varnamatruka (matrix of letters) manifests. This entire process is described as a cosmic order. Acharya Siddhasenasuri's work elucidates this mystery by following the sequence: 'Aham' (अहं), 'Bhale Miṇḍī', 'Om Namah Siddham', and then the alphabet.
• Mystical Significance: The first 62 verses of the Siddhamatruka are said to contain deep, profound mysteries, particularly detailing the wonderful form of 'Arhant', 'Bhale Miṇḍī', and 'Om Namah Siddham.' These verses are particularly appealing to those inclined towards spirituality. The subsequent verses contemplate the letters from 'A' to 'Ha'.
• Akshamala and Dikkuamrikas: The Tantrics call the practice of chanting the alphabet from 'A' to 'Ksha' as Akshamala. In this composition, the 56 letters from 'Namah Siddham' to 'Ksha' are equated with 56 Dikkuamrikas (celestial maidens). It's suggested that these celestial maidens perform the first ritualistic purification (sutika karma) of the Arhant (who is equated with Sabdabrahma). This signifies a fundamental, hidden connection between the Siddhamatruka and the structure of the universe, a secret that can only be understood by a guru-initiated practitioner.
• "Mahavir nu Nishāḷgaraguṁ" (Mahavir's School Lesson): Ancient manuscripts titled "Mahavir nu Nishāḷgaraguṁ" reveal the spiritual meanings and symbols of the entire alphabet, starting from "Bhale Miṇḍī." It's mentioned that even 60-70 years ago, children in Rajasthan were taught the alphabet in a similar manner. This "Nishāḷgaraguṁ" is an account of the questions posed by Indra to Lord Mahavir when he was seated in the school and the answers he provided, revealing the secrets of the alphabet.
• Shared Themes with Nishāḷgaraguṁ: The Siddhamatruka Prakarana and the Nishāḷgaraguṁ share a strong similarity in their exposition of content.
• Other Related Works: The tradition also includes many works based on the 52 letters of the alphabet in languages like Vraja and Old Gujarati, such as "Kishan Bavani," "Brahm Bavani," and "Akshar Bavani." Numerous profound compositions related to the Varnamatruka are found in Sanskrit and other languages. Upadhyaya Shri Meghavijayaji, a scholar of hidden truths, composed a vast work called Matrukaprasad, which is unpublished and unavailable.
• Authorship and Chronology: The introduction also delves into the authorship of the Siddhamatruka. It suggests that the work, along with Shakrastava and Namaskara Mahatmya, is by the same author, Siddhasena. Stylistic and thematic similarities point to this conclusion. The Namaskara Mahatmya mentions being composed in Siddhpur Patan on the banks of the Saraswati River. The authorship is debated: could it be Siddha Divakar, Siddharshi, Acharya Siddhasena (commentator of Pravachanasaroddhara), or Siddhasena (commentator of Tattvartha)? The author leaning towards Siddharshi (author of Upamitibhavaprapancha) also seems plausible due to similarities in verses. However, the strong internal parallels between Namaskara Mahatmya and Siddhamatruka, along with the mention of "Siddhpur Patan" in the former, lead to the conclusion that these works likely belong to Siddhasenacharya of the 13th century. This challenges the traditional attribution of Shakrastava and Namaskara Mahatmya to Siddha Divakar. The common practice of associating any "Siddhasena" with Siddha Divakar is questioned, emphasizing the need for evidence-based reasoning over blind adherence to tradition. The mention of Siddhasena in "History of Jain Sanskrit Literature" by H.R. Kapadia as being from the 15th century is deemed baseless.
• Verse-wise Content Analysis:
  • Verses 1-10 likely describe the glory of 'Aham'.
  • Verses 11-15 describe the symbol known as 'Bhale'.
  • Verses 16-21 describe the nature of 'Miṇḍī' (zero or void).
  • Verses 22-44 provide a detailed description of the two vertical lines (||) that are placed after zero in various contexts, drawing parallels with the description of the 'd-dh' combination in 'ddha' from "Namo Siddhāṇaṁ" in Namaskara Mahatmya, further strengthening the single authorship theory.
  • Verses 45-50 describe the Pranava mantra (Om).
  • Verses 51-54 describe 'Namah'.
  • Verse 55 describes 'Namah'.
  • Verse 56 describes 'Siddham'.
  • Verses 57-58 explain that meditating on the entire alphabet in the lotus at the navel, heart, and mouth makes one almost omniscient. This is a recognized meditation practice called Matrika Dhyana.
  • Verses 59-62 discuss the glory of the Siddhamatruka.
• Kakka (कक्को) Composition: Following this, the verses are structured alphabetically from 'A' to 'Ha' (including anusvara and visarga, comprising 16 vowels and 33 consonants), numbering from 63 to 125. These verses are presented as instructive and enlightening.
• Concluding Verse: Verse 129 contains the final sentence taught in Kakkashikshan (alphabet education), "Mangalam Mahāśriḥ," along with the author's name.
• Manuscript Details: The manuscript for this work is located in the library of the Samvegi Upāśraya in Ahmedabad. A Xerox copy was obtained by Muni Shri Dhurandharvijayji, based on which this edition was prepared. The manuscript is approximately 8 pages long and is largely accurate.
• Historical Context of Matruka Works: The tradition of creating works based on 'Matruka', 'Varnamala', 'Kakkko', and 'Barakhadi' traces back to Buddhist texts like 'Lalitavistara', Matangamuni's 'Brihaddeshi', and Someshvara's 'Manasollas'. There are about 32 such compositions available in non-Sanskrit languages (Apabhramsa, Gujarati, Hindi, etc.). The introduction recommends reading the preface of 'Barahkkhara Kakkko' by Mahachandra Muni, edited by Dr. Harivallabh Bhayani.
• Significance of This Work: This is noted as the first available Sanskrit example of a 'Kakkko' type composition based on the initial letter of the Matruka. The lack of other similar Sanskrit works makes this particular work and its editing noteworthy.
• Dating of Matruka Compositions: Among the available or recorded Matruka-centric compositions, none predate the 13th century. It is speculated that this type of composition started attracting authors' attention after the 12th century. In this context, the author of Siddhamatruka, Acharya Siddhasena, is also likely from the 13th century and possibly the same author as the commentator of Pravachanasaroddhara (dated Samvat 1248).

In essence, the introduction highlights the profound spiritual and linguistic significance of the Siddhamatruka, its connection to Jain Tantric traditions, its relationship with other devotional and pedagogical works, and engages in a scholarly discussion about its precise authorship and historical placement within Jain literature.