Tattvartha Sutra Aur Uski Tikaye

Here's a comprehensive summary in English of the provided text from "Tattvartha Sutra aur Uski Tikaye" by Fulchandra Jain Shatri:

This document is a detailed analysis of the Tattvartha Sutra, a foundational text in Jainism, and its various commentaries, written by Pandit Phoolchandra Ji Siddhanta Shastri.

1. Historical Context and Purpose of the Tattvartha Sutra:

• Decline of Original Scriptures: The text begins by describing the period after the Nirvana of Lord Mahavir, the last Tirthankara. It notes the decline in intellectual capacity and memory power over generations, leading to the gradual fragmentation of the original Jain scriptures (Anga and Anu-anga Shrut).
• Preservation of Knowledge: To counteract this loss and maintain an unbroken connection to Lord Mahavir's teachings, efforts were made to preserve and codify the knowledge. The Tattvartha Sutra is presented as a paramount achievement in this endeavor.
• Shift to Sanskrit: The Tattvartha Sutra is identified as one of the first high-caliber works to be written in Sanskrit, marking a transition from the original Prakrit language of Jain literature. This shift was due to the evolving literary landscape and the need for a more widely accessible language.

2. Names and Identity of the Tattvartha Sutra:

• "Tattvartha" as the Core Name: The primary name of the text is "Tattvartha" because it extensively discusses the seven fundamental realities (Jiva, Ajiva, Asrava, Bandha, Samvara, Nirjara, Moksha) which are the subject of right faith (Samyak Darshan).
• "Tattvartha Sutra": Due to its aphoristic style, it is also widely known as "Tattvartha Sutra."
• "Moksha Shastra": It is also popularly known as "Moksha Shastra" (Science of Liberation) by the general public. This name likely arose because the text begins with the exposition of the path to liberation and concludes with its description.
• Digambara vs. Shvetambara Recensions: The text acknowledges the existence of two recensions of the Tattvartha Sutra – one accepted by the Digambara tradition and another by the Shvetambara tradition. However, it asserts that the Digambara recension (as found in Sarvarthasiddhi) is the original Tattvartha Sutra.
• Shvetambara Adaptation: The Shvetambara tradition has a text called Tattvarthadhigama, attributed to Vachak Umasvati, which is believed to be a modified version of the original Tattvartha Sutra. This text later became known as Tattvarthadhigama Bhashya and eventually Tattvarthadhigama Sutra. Despite the modifications, the Shvetambara tradition still recognizes the older names like "Tattvartha" and "Tattvartha Sutra."

3. Magnitude of the Text:

• Digambara Count: The Digambara version, considered the original, contains 357 sutras spread across ten chapters. The number of sutras per chapter is detailed.
• Shvetambara Count: The Shvetambara version (Tattvarthadhigama) has a slightly different number of sutras, totaling 344 across ten chapters, with varying sutra counts per chapter.

4. Mangalacharana (Invocation):

• The Famous Invocation Verse: The text discusses the widely known introductory verse: "Mokshamargasya netaram...".
• Authorship Debate: It presents a debate among scholars regarding whether this verse is an integral part of the original Tattvartha Sutra. Some scholars argue it's not, based on its absence in explanations by early commentators.
• Argument for Authorship: However, the author cites evidence from Acharya Vidyananda's Aptapariksha, which clearly attributes the verse to the Sutrakara (author of the sutras). This suggests that the verse was accepted as part of the original work by scholars like Vidyananda.
• Explanation of Commentator's Silence: The silence of some commentators is explained by the fact that Acharya Samantabhadra had already written a commentary (Apta Mimamsa) on this verse, making a separate explanation by subsequent commentators like Pujyapada and Akalankadeva unnecessary when writing their commentaries on the Tattvartha Sutra. Acharya Vidyananda's separate commentary (Apta Pariksha) was necessitated by his own extensive commentary (Ashtasahasri) on Apta Mimamsa. Therefore, the author concludes that the invocation verse should be accepted as the original work of the Sutrakara.

5. Author and Date of Composition:

• Tradition of Anonymity: The text explains the ancient Jain tradition of not mentioning the author's name, lineage, or place of residence in scriptures. This was because authors saw themselves as compilers or transmitters of the teachings rather than creators, emphasizing the divine origin of the knowledge.
• Attribution to Griddhapanchamaacharya (Griddhpichha): Based on evidence from Acharya Virasena and Acharya Vidyananda, who both refer to the Tattvartha Sutra as being presented by "Griddhpichhaacharya," the text strongly asserts that Acharya Griddhpichha (also known as Griddhapanchamaacharya) is the original author.
• Timeline: Acharya Virasena and Acharya Vidyananda lived in the first half of the 9th century CE. This places Acharya Kundakunda's disciple, Griddhpichha, in the latter half of the 1st century CE and the early 2nd century CE.
• Refuting Claims of Umasvati as Author: The text addresses the notion that Umasvati wrote the Tattvartha Sutra, citing inscriptions from Shravanabelgola that mention Umasvati as the author. However, it argues that these inscriptions are from later periods (12th-15th centuries CE) and that the confusion arose due to the Shvetambara tradition's attribution of Tattvarthadhigama to Vachak Umasvati. It clarifies that the Umasvati mentioned in the inscriptions, identified as the author of the Tattvartha Sutra, is none other than Acharya Griddhpichha, a disciple of Kundakunda. The Vachak Umasvati of the Shvetambara tradition is a different person with a much later timeline.
• Conclusion on Original Text: Consequently, the Shvetambara Tattvarthadhigama is not the original text, and the sutra text accepted by the Digambara tradition (Sarvarthasiddhi) is the original, composed by Acharya Griddhpichha.

6. Introduction to the Subject Matter (Chapter-wise Summary):

The text then provides a chapter-by-chapter overview of the key concepts discussed in the Tattvartha Sutra:

• Chapter 1: Samyak Darshan (Right Faith):
  • Defines the path to liberation as Right Faith, Right Knowledge, and Right Conduct.
  • Emphasizes Right Faith as the primary foundation.
  • Defines Right Faith as faith in the Tattvarthas (Jiva, Ajiva, Asrava, Bandha, Samvara, Nirjara, Moksha).
  • Discusses the sources of Right Faith, including Deshna (teachings) and the role of spiritual predispositions from past lives.
  • Highlights the importance of the disciple's receptivity and the role of the enlightened (Samyak-drishti) in imparting these teachings.
• Chapter 2: Jiva (Soul):
  • Focuses on the soul as the primary reality.
  • Explains the soul's relationship with the non-soul (Ajiva) as the cause of the cycle of birth and death.
  • Details the soul's attributes, senses, bodies, states of consciousness, and places of existence (hells, middle world, heavens).
  • Discusses the concept of anapavartya ayu (inviolable lifespan), explaining that external factors like poison or injury do not shorten it if the internal disposition is not conducive to its shortening.
• Chapter 4: Devas (Celestial Beings):
  • Explains the subtypes of celestial beings.
  • Emphasizes that the great enjoyments and possessions of celestial beings are the result of virtuous dispositions (parinama) rather than just the accumulation of merit (punya).
  • Covers their life spans and leshya (subtle colorations).
• Chapter 5: Six Substances (Dravyas):
  • Provides a comprehensive explanation of the six eternal substances (Jiva, Ajiva, Dharma, Adharma, Akasha, Kala) and their qualities and modes (gunaparyaya).
  • Discusses their mutual interdependence and the general characteristics of substance, including origination (utpad), decay (vyaya), and permanence (dhrauvya).
  • Explains that while these three aspects are distinct, they do not create a distinction in the substance itself. It clarifies the concept of instrumental causality without asserting true authorship.
• Chapters 6 & 7: Asrava (Inflow of Karma) and Puny/Pap (Merit/Demerit):
  • Discusses the inflow of karma, categorized as auspicious (shubha) and inauspicious (ashubha).
  • Explains that these correspond to virtuous and sinful mental states and activities.
  • Clarifies that while external actions contribute, internal mental states (bhava) are the primary cause of karma inflow.
  • Highlights that certain states like Samyaktva (Right Faith) and partial/full self-control are considered causes of ayu (lifespan) karma, but it's the associated prasasta raga (pure attachment) that is the binding factor.
  • Chapter 7 delves deeper into auspicious states, including vows and the spiritual interpretation of the five cardinal sins (himsa, etc.), noting that internal impure states, even without external actions, are considered sinful.
• Chapter 8: Bandha (Bondage of Karma):
  • Explains the four types of karma bondage: prakriti, pradesha, sthiti, and anubhaga.
  • Identifies the five causes of bondage: mithyadarshan (delusion), avirati (non-restraint), pramada (negligence), kashaya (passions), and yoga (activity of mind, speech, and body).
  • Emphasizes kashaya and yoga as the primary causes, with mithyadarshan, avirati, and pramada contributing to the duration and intensity of bondage.
  • Explains that the bond between the soul and karmic matter is not a direct contact but a particle-to-particle relationship due to the absence of touch in the soul.
• Chapter 9: Samvara (Cessation of Karma) and Nirjara (Shedding of Karma):
  • Defines Samvara as the cessation of the inflow of auspicious and inauspicious karma.
  • Explains that Samvara begins effectively from the fourth stage of spiritual progress (gunasthana) due to the development of right faith, equanimity, and the absence of delusion.
  • Details the means of Samvara: gupti (control of senses), samiti (carefulness), dharma (virtues), anupreksha (contemplations), parishahajaya (endurance of hardships), and charitra (conduct).
  • Discusses Nirjara (shedding of karma), explaining its role in liberation.
  • Highlights the importance of tapas (austerities) as a cause of both Samvara and Nirjara.
  • Analyzes the concept of parishaha (hardships) and their classification, noting the specific mention of nudity (nagna) as the sixth parishaha, reinforcing the Digambara authorship.
  • Explains the different types of samyata (restrained beings) and how they are classified based on different philosophical standpoints (naya).
  • Discusses Nirjara in terms of quantitative and qualitative increases, particularly relating to the purity of the soul.
  • Elaborates on Dhyana (meditation), classifying it into auspicious (prashasta) and inauspicious (aprashasta) types. Auspicious meditation is further divided into Dharma Dhyana and Shukla Dhyana.
  • Explains Dharma Dhyana as the meditation practiced before ascending the spiritual ladder and Shukla Dhyana as that practiced after.
  • Differentiates between Nishchaya Dhyana (Absolute Meditation), which is the direct experience of the soul and leads to karma shedding, and Vyavahara Dhyana (Conventional Meditation), which focuses on external objects and is not a direct cause of karma shedding.
  • Clarifies that even in the savikalpa (with conceptualization) state of the soul, the focus remains on the soul itself, making the practice of pure cognition (shuddha naya) possible.
• Chapter 10: Moksha (Liberation):
  • Discusses the attainment of omniscience (Kevala Jnana) through the destruction of deluding karmas (ghatiya karmas).
  • Defines Moksha as the state of being free from all karmas through Samvara and Nirjara. It notes the substitution of "Bandha Hetvabhava" (absence of causes of bondage) for Samvara in the sutra, emphasizing that the absence of bondage causes is equivalent to Samvara.
  • Clarifies the status of liberated souls (mukta jiva), stating that they are free from qualities associated with karmic manifestation, including bhavyatva (potentiality to attain liberation), which is seen as a cause-effect relationship.
  • Explains that liberated souls possess qualities like omniscient knowledge, bliss, etc., which are kshayaika bhavas (states arising from the complete destruction of karmas). These are considered natural states of the soul (swabhavika bhavas) rather than merely conventional terms.
  • Addresses questions about the movement of liberated souls, explaining their natural upward movement (urdhva gati) within the bounds of the universe, which is a consequence of their inherent disposition, not an external force or limitation by dharmastikaya (medium of motion).
  • Discusses the twelve anuyogas (categories of inquiry) that provide information about beings attaining liberation.
  • Clarifies that liberation is achieved through nameless conduct (namrahita charitra) and that liberated souls possess kshayaika charitra (conduct arising from the destruction of karmas), which is eternal and unchanging.
  • Debunks the notion that liberation is impossible in the current era or region, stating that time and place are not barriers to spiritual progress.

7. Commentaries on Tattvartha Sutra:

The text then details significant commentaries on the Tattvartha Sutra:

• Sarvarthasiddhi:
  • Considered the first commentary on the Tattvartha Sutra available today, written by Acharya Pujyapada.
  • It is written in a style similar to Patanjali's commentary on Panini's grammar.
  • It showcases Pujyapada's extensive use of ancient Jain literature and suggests the existence of earlier, now-lost commentaries.
  • It dates to the latter half of the 5th century CE to the first half of the 6th century CE.
• Tattvartha Vartika Bhashya:
  • A more extensive commentary by Acharya Akalankadeva.
  • It builds upon the foundational concepts of Sarvarthasiddhi and offers new insights and deeper discussions on topics like anekanta (non-absolutism).
  • It is dated to the first half of the 8th century CE.
• Tattvartha Shloka Vartika Bhashya:
  • A philosophical and in-depth commentary by Acharya Vidyananda.
  • It adopts a style inherited from Acharya Samantabhadra and Akalankadeva.
  • It provides a comprehensive explanation of Right Faith, Right Knowledge, and Right Conduct, clarifying concepts like the distinction between absolute and conventional reality.
  • It is dated to the latter half of the 8th century CE to the first half of the 9th century CE.
• Other Commentary Literature:
  • Mentions that these three are the main Digambara commentaries, with many other published and unpublished works, and numerous commentaries in various languages.

8. Shvetambara Tradition's View:

• Tattvarthadhigama: The text briefly touches upon the Shvetambara tradition's acceptance of Tattvarthadhigama by Vachak Umasvati.
• Compilation, Not Original: It reiterates that Tattvarthadhigama is a compilation and adaptation of the original Tattvartha Sutra and its commentaries, dating to around the 7th-8th century CE, during the compilation of Shvetambara Agamas.
• Influence of Digambara Works: It notes that commentaries by Haribhadra Suri and Siddhasena Gani on Tattvarthadhigama show indebtedness to Digambara works like Akalankadeva's Tattvartha Vartika.

In essence, this document provides a scholarly exploration of the Tattvartha Sutra, establishing its historical context, author, linguistic evolution, and the significance of its teachings, while also meticulously examining its relationship with various influential commentaries and its place within both the Digambara and Shvetambara traditions of Jainism.