Umaswati Arya Samudrna Navprapta Padyo Vishe - Book Summary

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Book Title: Umaswati Arya Samudrna Navprapta Padyo Vishe (On Recently Acquired Verses of Umaswati and Aryasamudra) Author: M A Dhaky Publisher: ZZ_Anusandhan Catalog Link: https://jainqq.org/explore/229689/1

This scholarly article by M.A. Dhaky, published by ZZ_Anusandhan, critically examines verses attributed to two prominent Jain figures, Umaswati and Aryasamudra, based on previous research by Munivar Shilchandra Vijayji. Dhaky offers his own observations and analysis, aiming to clarify the authenticity and dating of these verses.

Key Arguments and Observations:

1. On Verses Attributed to Umaswati:

Umaswati's Known Works: Dhaky acknowledges that Umaswati likely authored more works beyond his currently available texts like "Sabhashya Tattvarthaadhigamasutra," "Prashmarati Prakaran," and "Kshetra Samasa Jambudweepa Samasa." However, he cautions against accepting the legendary claim of 500 compositions.
Attributed Verses on Pratishtha Vidhi: Dhaky disputes the attribution of two verses related to "Pratishtha Vidhi" (consecration ritual) and "Pratima Stapana Vidhi" (idol installation ritual) presented from a 14th-century manuscript. He argues that their subject matter and style suggest they are compositions of a medieval Chaityavasi Jain monk, not Umaswati.
Umaswati's Unique Style: Dhaky emphasizes that Umaswati's poetic style is distinctive and "prachytanospersh" (touch of antiquity), with no later authors exhibiting his specific style or imitation. He compares this to other later works mistakenly attributed to him.
Verses Quoted by Abhaydev Suri: Dhaky notes that eight verses on the topic of charity, quoted under the name "Vachak Mukhya Umaswati" in Abhaydev Suri's "Sthananga Vritti," appear stylistically similar to Umaswati's work. These might have originated from a separate, now lost, work by Umaswati like "Shravaka Pragnyapti" or "Dana Prakaran."

2. On Verses Attributed to Aryasamudra:

Medieval Attribution: Dhaky asserts that the verse attributed to Aryasamudra is also medieval in style and subject matter, and should not be confused with the Aryasamudra who lived at the beginning of the Common Era.
Absence of Chaityavasi Elements in Early Period: He points out that there is no evidence of Chaityavasi elements like "Surimantra" during the early Common Era, nor did monks of that period typically perform idol consecrations, as evidenced by inscriptions up to the 5th century CE.
Identification of Aryasamudra: Dhaky believes the Aryasamudra in question is likely the same Aryasamudra who lived in the 10th century CE. This Aryasamudra composed a Sanskrit vritti (commentary) in 950 CE on Jin-Snata-Vidhi, a short text in Prakrit by the early Jiwadeva Suri of the Vayat Gachchha (around the 9th century CE).
Verse Origin: The attributed verse likely originates from another related work of this medieval (Chaityavasi) Aryasamudra, possibly a Prakrit text on consecration rituals. The verse is quoted in Padalipta Suri's "Nirvana Kalika" (around 975 CE), which is noted as an interesting occurrence, but Dhaky clarifies that there were multiple individuals named Padalipta Suri.
Distinguishing Padalipta Suris: Dhaky details three Padalipta Suris:
- First Padalipta Suri: A disciple of Arya Nagarasti (c. 150-200 CE), associated with King Hala of the Satavahana dynasty, and credited with healing the headaches of a Sak-Murunda ruler. He composed the famous "Tarangavai Kahā" and the astronomical text "Jyotish Karandaka."
- Second Padalipta Suri: Flourished during the decline of the Maitrak dynasty of Valabhi. He was a skilled alchemist and a clear Chaityavasi. He composed a short stotra starting with "GahajuyaleNa." He was a teacher-friend of the alchemist Nagarjuna.
- Third Padalipta Suri: A disciple of Mandana, who composed "Nirvana Kalika" (c. 975 CE). He is associated with King Krishna (III) of the Rashtrakuta dynasty in Karnata. This third Padalipta Suri is also linked to Shatrunjaya, and a work like "Pundarik Prakirnak" (also known as "Saravali Prakirnak") is attributed to him, which later served as a basis for works by Vajraswami and Dharmakirti Gani related to Shatrunjaya.

3. On the Verse Attributed to Umaswati by Vachak:

Quoted Verse: Dhaky presents a verse quoted by Munivary Shilchandra Vijayji from Shantisuri's "Uttaradhyayana Vritti" (c. 1025 CE) as possibly being by Umaswati:

"Why do you ridicule people, with your body withered by age? Soon you too will be so, why then carry the pride of youth?"
"Vachak Mukhyaihi" as Indicator: Dhaky agrees that any quote under the title "Vachak Mukhyaihi" has a high probability of being Umaswati's. However, he notes that there were many "Vachaks" (scholars and speakers) with various names (e.g., Ashwasen Vachak, Siddhasen Vachak, Haril Vachak) whose styles and content do not match Umaswati's.
Verse Style: Dhaky argues that the quoted verse, while ancient, does not exhibit Umaswati's specific poetic composition method. Its style is different and appears to be from a later period. He finds its style very similar to verses attributed to Haril Vachak, mentioning a "calm, pleasant flow" and "beautiful, profound philosophy and attachment to detachment and sadness."
Haril Vachak's Work: Dhaky suggests that Haril Vachak (also known as Harigupta Vachak) may have had a remarkable work similar to Bhartrihari's "Vairagya Shataka," from which these verses might have been extracted. He notes that according to the prologue of Udyotan Suri's "Kuvalayamala Kahā" (778 CE), Harigupta Vachak was the guru of the Huna king Toramana.
Dating Haril Vachak: Based on historical arguments, Dhaky places this lost work of Haril Vachak around 500 CE, which is about 150 years after Umaswati's works.

4. Comparison of Umaswati's Style:

Dhaky concludes that Umaswati's style is ojasvi (vigorous), urjasvi (powerful), and artha-gauravi (rich in meaning). While it is suitable for a detached, philosophical scholar, it lacks a "poet's heart." He then provides examples of verses from Umaswati's known works to illustrate this point.

In essence, Dhaky's article is a critical textual analysis that seeks to distinguish authentic compositions of Umaswati and Aryasamudra from later interpolations or attributions, based on stylistic, thematic, and historical evidence. He emphasizes the importance of careful scholarship in identifying and dating ancient Jain texts.