Tirthankaroni Prashnatrayi - Book Summary

Certainly, here's a comprehensive summary of the Jain text "Tirthankarani Prashnatrayi" by Acharya Yashodevsuri, based on the provided catalog link and page content:

Book Title: Tirthankarani Prashnatrayi (The Trilogy of Questions of the Tirthankaras) Author: Acharya Yashodevsuri Publisher: Muktikamalmohan Jain Gyanmandir Content Focus: This book delves into three specific, often debated, aspects related to Tirthankaras, aiming to provide definitive answers based on scriptural, artistic, and practical evidence. The three core questions addressed are:

The Three Umbrellas (Chhatra) Above the Tirthankara's Head:
- The Core Question: What is the correct arrangement (upright or inverted) and order of the three umbrellas that are depicted above the head of a Tirthankara?
- Author's Stance: Acharya Yashodevsuri strongly argues that the umbrellas are always arranged upright (savala), forming a triangle with the largest at the bottom and the smallest at the top. He asserts there is no alternative or "inverted" (avala) arrangement.
- Evidence Presented:
  - Direct Visual Evidence: The book extensively uses photographs of ancient Jain sculptures and paintings from the 8th to 17th centuries, across various regions of India, all consistently depicting the umbrellas in the upright, triangular formation.
  - Scriptural Interpretation: The author analyzes ancient Jain texts, including the Vitragastotra and its commentaries by Hemchandracharya and Vinayavijayji, arguing that their interpretations, when understood correctly, support the upright arrangement. He critically examines how certain interpretations of these texts have led to the misconception of inverted umbrellas.
  - Shilpa Shastra (Sculptural Science): The book cites ancient Indian texts on sculpture that detail the proportions and arrangement of divine iconography, specifically mentioning that the umbrellas should be placed from largest at the bottom to smallest at the top.
  - Scholarly and Community Consensus: The author highlights that leading Acharyas from various Jain sects (Murtipujak, Sthanakvasi, Terapanthi, and different Gachhas) have supported his conclusion, reinforcing the idea of a unified, correct understanding.
  - Absence of Contrary Evidence: He emphasizes that no sculptures depicting inverted umbrellas have ever been found, despite extensive archaeological and artistic evidence supporting the upright arrangement.
- Significance: This section aims to settle a long-standing debate and establish the correct visual representation of this significant aspect of Tirthankara iconography.
The Hair (Kesha) of the Tirthankara After Initiation:
- The Core Question: Do Tirthankaras have hair on their heads and faces after their initiation (Diksha) and the ritual shaving (loach)?
- Author's Stance: Acharya Yashodevsuri challenges the common belief, stemming from interpretations of the Vitragastotra's commentary, that Tirthankaras remain bald or have hair that does not grow after initiation. He argues that Tirthankaras do have hair, and it is maintained in a specific, divine manner.
- Evidence Presented:
  - Scriptural Analysis: The author meticulously examines various Jain scriptures, including the Bhagavati Sutra, Acharanga Sutra, and others, presenting passages that indicate the presence of hair.
  - Tirthankara's Special Attributes (Atishayas): He connects the presence and nature of hair to the unique physical attributes (Atishayas) of Tirthankaras, particularly the "Avastith" (unchanging) Atishaya, which is often divine in origin.
  - The Role of Indra: The author discusses the divine intervention of Indra, who, after Tirthankaras attain Kevalgyan (omniscience), arranges their hair, mustache, and beard into a specific, aesthetically pleasing, and unchanging form. He presents evidence that this divine styling occurs after Kevalgyan, not at the time of initiation.
  - Visual Evidence: He points to ancient sculptures and paintings that depict Tirthankaras with hair, and also references the "Panchamukhi Loch" (five-fisted ritual of shaving) as a practice for ascetics, but argues that Tirthankaras have a unique divine process.
  - Challenging Interpretations: He critically analyzes the commentary of the Vitragastotra, suggesting it may have been misinterpreted or that the commentary itself might have been influenced by later interpretations or lacked complete clarity on the specific timing of hair's state. He provides evidence from Hemchandracharya's own Triṣaṣṭiśalākāpuruṣacarita which states that after Kevalgyan, hair and nails do not grow. He contrasts this with the commentary's implication that hair remains static from the time of Diksha.
- Significance: This section clarifies the nature of Tirthankaras' physical appearance after initiation, moving beyond the bald or unchanging hair notion to a more nuanced scripturally supported understanding of divinely maintained hair.
Ashok Tree vs. Ashoka Tree vs. Chaitya Tree:
- The Core Questions:
  - Are the Ashok tree and the Aashopalav (or Ashoka Palav) tree the same, or are they distinct?
  - What is a Chaitya Tree?
  - Is the Ashok tree always a Chaitya tree?
- Author's Stance: Acharya Yashodevsuri definitively states that the Ashok tree and the Aashopalav tree are different. He also clarifies the concept of a Chaitya tree.
- Evidence Presented:
  - Botanical and Lexicographical Research: The author cites botanical classifications and Sanskrit dictionaries, highlighting that "Ashoka" is a distinct tree, often associated with overcoming sorrow, and has specific characteristics. He notes that "Aashopalav" has different leaves and growth patterns and is commonly used for decoration, but it is not the same as the Ashok tree. He points out a linguistic confusion where "Ashoka Pallav" might have led to the misidentification.
  - Scriptural References: He draws from Jain scriptures that describe the Ashok tree as one of the eight principal auspicious symbols (Ashta Mahapratiharya) of a Tirthankara, appearing universally with them.
  - Chaitya Tree Definition: A Chaitya tree is defined as the tree under which a Tirthankara attains Kevalgyan (omniscience). Each of the 24 Tirthankaras has a specific Chaitya tree associated with their enlightenment.
  - The Relationship: The author explains that the Chaitya tree (the enlightenment tree) is often depicted above or associated with the Ashok tree, which is a constant attendant Tirthankara. The Ashok tree is always present as an auspicious symbol, but the Chaitya tree is specific to each Tirthankara's enlightenment. He provides a list of Chaitya trees for the 24 Tirthankaras.
  - Visual Representations: The book includes illustrations of the Ashok tree and Aashopalav leaves to highlight their differences. It also mentions that in depictions of Samavasarana (the divine assembly hall), both the Ashok tree and the specific Chaitya tree are shown, with the Chaitya tree often positioned above the Ashok tree.
- Significance: This section corrects a widespread misconception about botanical names and clarifies the specific roles of the Ashok tree as a Tirthankara's attendant symbol and the Chaitya tree as the site of their omniscience, resolving confusion in Jain art and scripture.

Overall Purpose and Impact:

"Tirthankarani Prashnatrayi" is a scholarly work that aims to resolve long-standing ambiguities and establish factual accuracy on key Tirthankara-related iconographic and historical points within Jainism. By presenting a wealth of evidence from scriptures, ancient art, and expert opinions, Acharya Yashodevsuri seeks to unify understanding and guide future artistic representations and scriptural interpretations. The book is presented as a conclusive answer to these "trilogy of questions," reinforcing established Jain traditions while correcting any deviations or misunderstandies.