Dravyasamgraha is one of the finest classical Jaina texts, composed by His Holiness Acarya Nemichandra (c. 10th century CE). It deals primarily with the Realities (tattvas) that contribute to world process. The conduct required for attaining the ultimate goal of liberation follows from the knowledge of these Realities. Both, the transcendental and the empirical points of view, have been considered while explaining the nature of substances, souls and non-souls. It will be of much use to scholars worldwide interested in pursuing the study of Jaina epistemology.
Divine Blessings: Ācārya Vidyānanda Muni (1st Edition); Ācārya Viśuddhasāgara Muni (2nd Edition) Editor and Translator: Vijay K. Jain Language Note: Prakrit, Hindi and English Publisher: Vijay Kumar Jain, 2022 Subjects: Jainism – Doctrines – Early works to 1800 Description: xlii + 310 p. (total 352 p.); 24 x 17 x 2.5 cm The canonical text ‘Dravyasamgraha’ is believed to have been composed either by the Most Worshipful Ācārya Nemicandra ‘Siddhānta Cakravartī’ (circa 10th century CE) – the celebrated composer of texts like Gommatasāra, Labdhisāra, and Trilokasāra – or by his later namesake Muni Nemicandra ‘Siddāntideva’ (circa the end of 11th century CE). Ācārya (Muni) Nemicandra’s Dravyasamgraha consists of just 58 verses. In 116 lines of 58 verses the author has described the six substances (dravya), five with bodily-existence (pañcāstikāya), seven realities (tattva), nine objects (padārtha), and the path to liberation (mokşa), from both the empirical (vyavahāra) as well as the transcendental (niścaya) points-of-view (naya). The treatise ends with a brief description of the five Supreme-beings (pañca-parameşthī) and of meditation (dhyāna). The ‘Explanatory Note’ to each verse comprises excerpts from the most authentic Sacred Jaina Texts.
Istopadesa by Acarya Pujyapada is a concise work of 51 didactic verses leading the reader from the empirical to the transcendental, from the mundane to the sublime, through an experiential process of self-realization, rather than through a metaphysical study of the soul-nature. Concise but deep in import, Istopadesa unambiguously establishes the glory of the Self. It is an essential reading for the ascetic. The householder too who ventures to study it stands to benefit much as the work establishes the futility of the worldly objects and pursuits, and strengthens right faith, the basis for all that is good and virtuous.
Ratnakarandaka-śrāvakācāra – Ratnakaranda in short – comprising 150 verses, is a celebrated and perhaps the earliest Digambara work dealing with the excellent path of dharma that every householder (śrāvaka) must follow. All efforts should be directed towards the acquisition and safekeeping of the Three Jewels (ratnatraya), comprising right faith (samyagdarśana), right knowledge (samyagjñāna) and right conduct (samyakcāritra), which lead to releasing him from worldly sufferings and establishing him in the state of supreme happiness. The treatise expounds an easy-to-understand meaning of ‘right faith’: To have belief, as per the Reality, in the sect-founder or deity (āpta or deva), the scripture (āgama or śāstra), and the preceptor (guru). It specifies criteria to distinguish between the real and the counterfeit enabling one to eliminate follies attributable to wrong faith. Only the householder who has right faith establishes himself on the path to liberation. Right faith is the treasure chest of whatever is propitious and worthy; wrong faith of whatever is inauspicious and contemptible. After laying the foundation called the right faith, Ācārya Samantabhadra goes on to complete the superstructure known as the Three Jewels (ratnatraya) with the remaining two elements, right knowledge and right conduct. The householder who has attained right faith on the destruction of darkness of delusion is fit to attain right knowledge and right conduct. He gets rid of the conduits of demerit (pāpa) comprising injury, falsehood, stealing, unchastity, and attachment to possessions. Further, he observes three subsidiary vows (guņavrata), and four instructional vows (śikşāvrata). Giving up of the body in a manner that upholds righteousness (dharma) on the occurrence of a calamity, famine, senescence, or disease, from which there is no escape, is called the vow of sallekhanā. Sallekhanā has been termed as the final fruit or culmination of penance (religious austerity) and, therefore, all persons with right faith, the ascetic as well as the householder, look forward to attaining voluntary, passionless death at the appropriate time. The treatise finally describes the eleven stages (pratimā) of the householder’s conduct.
Ācārya Vādirāja, the composer of ‘Ekībhāva Stotra’ lived around the 11th century Vikrama Samvat. ‘Vādirāja’ was an honour bestowed on him; this was not his actual name. Being the undisputed master of the debating skills – vāditva – in regard to philosophical reasoning, he became famous as ‘Vādirāja’. Ācārya Vādirāja is considered as one of the great contributors to the Jaina literature. Due to the fruition of the past evil karmas, Ācārya Vādirāja’s body got inflicted with leprosy. In spite of this infliction, the dispassionate saint used to remain engrossed in his meditation, unmindful of his bodily suffering. As per the anecdotal story, in order to save the glory of the Jaina saints, Ācārya Vādirāja got himself engrossed in the devotion of Lord Ādinātha and during the course of one night composed the famous ‘Ekībhāva Stotra’. He implores in ‘Ekībhāva Stotra’: “O Lord! On account of the merit of the worthy souls, you had descended on this earth from the celestial world (the Sarvārthasiddhi heaven) and earlier (six months before you entered your mother’s womb) this part of the earth was imparted the lustre of gold (due to the incessant rain of the choicest gems by Kubera). O Lord Jina! Now you have entered the home of my heart that has the door of your meditation and is attractive; is there any wonder in your imparting the lustre of gold to my body?” By virtue of his devotion to Lord Jina, the leprosy of Ācārya Vādirāja got quelled during the night and by the morning his body attained lustre and glow like that of the tempered gold.
Editor and Translator: Vijay K. Jain Language Note: Sanskrit, Hindi and English Format: Book; Paperback, on Art paper Kalyāņamandira Stotra (Pārśvanātha Stotra) is the magnum opus composition of Ācārya Kumudacandra (circa 12th century VS). Kalyāņamandira Stotra eulogizes the supreme attributes of Lord Pārśvanātha, the twenty-third Tīrthaṅkara. This is perhaps the most well-known adoration of Lord Pārśvanātha that is not only recited but memorized, with great devotion and reverence, by many among the Jaina community, both Digambara and Śvetāmbara. The worthy soul is believed to accumulate enormous propitiousness by reading Kalyāņamandira Stotra with devotion. Many claim to have benefitted miraculously from the recitation of and reflection on this sacred composition. This slim volume is a useful reference text for international readers. It will be of interest not only to the Hindi-loving scholars but also to those looking for an authentic English rendering of Kalyāņamandira Stotra. The book’s Preface contains, besides other useful information, a brief life story of Lord Pārśvanātha, as expounded in the Scripture. The interesting and eye-opening sequence of the enmity carried forward by various incarnations of Kamaṭha (finally, Śambara deva) against his then-younger brother Marubhūti (finally, Lord Pārśvanātha), is also provided in a tabular form.
Ālāpa Paddhati, composed by Ācārya Devasena (c. tenth century, Vikrama Samvat) is a Jaina text primarily on the topics of the standpoints (naya) and the secondary-standpoints (upanaya). It also delves into the substances (dravya), their qualities or attributes (guṇa), modes (paryāya), and nature (svabhāva). It is true that without appreciating the import as well as the applicability of the individual standpoints (naya), one may get lost in the complex maze of the standpoints and cause great harm to one’s understanding, and even to one’s mental balance. Ālāpa Paddhati is essential reading for every serious reader of the Dravyānuyoga that spreads the light of right (scriptural) knowledge by illuminating the Reality of substances – soul (jīva) and non-soul (ajīva), merit (puṇya) and demerit (pāpa), bondage (bandha) and liberation (mokṣa), including influx (āsrava), stoppage (saṃvara), and gradual dissociation (nirjarā). The book has a useful Appendix that explains the doctrines of non-absolutism (anekāntavāda) and conditional predication (syādvāda). This slim volume needs to be read over and over again to internalize the underlying concepts fully.
Language Note: Prakrit, Hindi and English Subjects: Jainism – Doctrines – Early works to 1800 Ācārya Kundakunda’s (circa 1st century BCE) Rayaṇasāra makes it clear that the right-faith (samyagdarśana) is the beginning as well as the culmination of the path to liberation – mokṣa-mārga. The householder (śrāvaka) must first acquire the right-faith – the Quintessential Jewel (Rayaṇasāra) – to be able to establish his Self on to the path to liberation. As he acquires the right-faith he begins to appreciate the reality of the world and the worldly-existence. He then exerts to acquire the true knowledge (jñāna) as expounded in the Doctrine (siddhānta), and adopts the laudable conduct (cāritra) by becoming a digambara-ascetic (nirgrantha muni). He ascends the spiritual-stages (guṇasthāna) and ultimately, through pure-meditation (śukla-dhyāna), attains the ineffable and eternal bliss appertaining to liberation (mokṣa). Ācārya Kundakunda, all through this Holy Scripture Rayaṇasāra, underscores the importance of the right-faith (samyagdarśana) for the householder (śrāvaka) as well as the ascetic (muni, śramaṇa). He asserts that in the (present) unfavourable fifth era the study – svādhyāya – of the Scripture, indeed, is meditation (dhyāna); it results in the subjugation of the five-senses (paṅcendriya) as well as of the passions (kaṣāya).
