Digambara

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Digambara (/dɪˈɡʌmbərə/; "sky-clad") is one of the two major schools of Jainism, the other being Śvetāmbara (white-clad). The Sanskrit word Digambara means "sky-clad", referring to their traditional monastic practice of neither possessing nor wearing any clothes.^[1]

Digambara and Śvetāmbara traditions have had historical differences ranging from their dress code, their temples and iconography, attitude towards female monastics, their legends, and the texts they consider as important.^[2][3][4]

Digambara monks cherish the virtue of non-attachment and non-possession of any material goods. Monks carry a community-owned picchi, which is a broom made of fallen peacock feathers for removing and thus saving the life of insects in their path or before they sit.^[1]

The Digambara literature can be traced only to the first millennium, with its oldest surviving sacred text being the mid-second century Ṣaṭkhaṅḍāgama "Scripture in Six Parts" of Dharasena (the Moodabidri manuscripts).^[5] One of the most important scholar-monks of the Digambara tradition was Kundakunda.

Digambara Jain communities are currently found mainly in most parts of North India in states like Rajasthan, Uttar Pradesh, Delhi, Bihar, Jharkhand, Madhya Pradesh, parts of south Maharashtra and Karnataka.^[4][6] According to Jeffery D. Long, a scholar of Hindu and Jain studies, less than one fifth of all Jains in India have a Digambara heritage.

According to Heinrich Zimmer, the word Digambara is a combination of two Sanskrit words: dik (दिक्) (space, sky) and ambara (अम्बर) (garment), referring to those whose garments are of the element that fills the four quarters of space.^[7]

The Digambaras and Śvetāmbara disagree on how the Digambara subtradition started in Jainism.^[8] According to Digambaras, they are the original followers of Mahavira and Śvetāmbara branched off later in the time of Bhadrabahu when their forecast twelve-year famine triggered their migration from central India.^[8] One group of Jain monks headed west and north towards Rajasthan, while the second group headed south towards Karnataka. The former became Śvetāmbara and retained their "heretic" beliefs and practices such as wearing "white clothes" they adopted there, say the Digambaras.^[8] In contrast, according to Śvetāmbara, they are the original followers, and Digambaras arose 609 years after the death of Mahavira (about 1st century CE) because of an arrogant man named Sivabhuti who became a Jain monk in a fit of pique after a fight at home.^[8] He is accused of starting the Digambara Jain tradition with what Śvetāmbara call as "eight concealments", of rejecting Jain texts preserved by the Śvetāmbara tradition, and misunderstanding the Jain ideology including those related to nuns and clothes.^[8] Neither of these explanations can be found in early Jain or non-Jain texts. The earliest version of this Digambara story appears in the 10th century CE, while the earliest version of the Śvetāmbara story appears in the 5th century CE.^[9]

In 1943, Heinrich Zimmer proposed that the Greek records of 4th-century BCE mention gymnosophists (naked philosophers) which may have links to the tradition of "naked ascetics" the Digambar monks.^[7] In 2011, Patrick Olivelle stated that the context in which the Greek records mention gymnosophists include ritual suicide by cremation traceable to ancient Brahmanism, rather than the traditional Jain ritual of embracing death by starvation and taking samadhi by voluntarily sacrificing everything including food and water (sallekhana).^[10] Dundas talks about the archeological evidences which indicate that Jain monks moved from the practice of total nudity towards wearing clothes in later period. Tirthankara statues found in Mathura and dated to 2nd-century CE or after are naked.^[11] The oldest Tirthankara statue wearing a cloth is dated in 5th century CE.^[12] Digamabara statues of tirthankara belonging to Gupta period has half-closed eyes.^[13]

In 17th-century, adhyatma movement in Agra led to rise of terapanthi and bisapanthi sub-sects based on the differences over acceptance of authority of bhattarakas.^{[14][15][16][17]} King Jai Singh II (1688–1743) of Amer kingdom built separate temples for the two sub-sects in his newly established capital of Jaipur.^[14] Terapanthis, led by scholars like Pandit Todarmal and Banarasidas, rejected the authority of bhattarakas.^[14][18][19]

Early Jain images from Mathura depict Digambara iconography until late fifth century CE where Śvetāmbara iconography starts appearing.^[20]

According to Digambara texts, after liberation of Mahavira, three Anubaddha Kevalīs attained Kevalajñāna (omniscience) sequentially – Gautama Gaņadhara, Acharya Sudharma Swami, and Jambusvami in next 62 years.^[21] During the next hundred years, five Āchāryas had complete knowledge of the scriptures, as such, called Śruta Kevalīs, the last of them being Āchārya Bhadrabahu.^[22][23] Spiritual lineage of heads of monastic orders is known as Pattavali.^[24] Digambara tradition consider Dharasena to be the 33rd teacher in succession of Gautama, 683 years after the nirvana of Mahavira.^[25]

In the Digambara tradition, the following lineage of teachers are revered: Mahavira, Gautama, Kundakunda,^[26] Bhadrabahu, Umaswami, Samantabhadra, Siddhasena Divakara, Pujyapada, Manatunga, Virasena,^[27] Jinasena, Nemichandra.^{[citation needed]} Kundakunda is considered the most significant scholar monk of the Digambara tradition of Jainism. He authored Prakrit texts such as the Samayasāra and the Pravacanasāra. Other prominent Acharyas of this tradition were, Virasena (author of a commentary on the Dhavala), Samantabhadra and Siddhasena Divakara. The Satkhandagama and Kasayapahuda have major significance in the Digambara tradition.^{[citation needed]}

There have been several Digambara monastic lineages that all trace their descent to Mahavira. The historical lineages included Mula Sangha (further divided into Nandi, Sena, Simha and Deva Sanghas) and now largely extinct Kashtha Sangha (which included Mathura sangha, ""Lat-Vagad" etc.), Dravida Sangh.^[28] The text Darshana-Sara of Devasena discusses the supposed differences among the orders.^[29] The Mula sangha orders include Deshiya Gana (Bhattarakas of Shravanabelgola etc.) and Balatkara Gana (Bhattarakas of Humcha, and numerous lineages of North/Central India) traditions.^[30] The Bhattarakas of Shravanabelagola and Mudbidri belong to Deshiya Gana and the Bhattaraka of Humbaj belongs to the Balatkara Gana.^[31]

The Digambara sect of Jainism rejects the texts and canonical literature of the Śvetāmbara sect.^[32][33] They believe that the words of Mahavira neither survive nor could be recorded. The original teachings went through a rapid period of decline, state the Digambaras, and Śvetāmbara claims of preserving the sacred knowledge and ancient angas is false.^[32]

According to the Digambaras, their 33rd achārya was Dharasena who knew one anga, and he taught these to Pushpadanta and Bhutabali, 683 years after the moksha of Mahavira.^[25] That anga was also lost with the death of those two. Dharasena's teachings that have survived are Ṣaṭkhaṅḍāgama (Scripture of Six Parts) and Kasayapahuda (Treatise on the Passions), which were written on palm leaves near a cave in Mount Girnar (Gujarat) and a copy of which with a 12th-century commentary came to Tulu Nadu (south Karnataka).^[34] This has survived as the Mudbidri manuscripts, which were used by regional Jains not for reading and study, but as an object of devotional worship for centuries.^[34] In the 19th century, the fragile and decaying manuscript was copied and portions of it leaked to scholars between 1896 and 1922 despite objections of Digambara monks. It is considered to be the oldest known Digambara text ultimately traceable to the 2nd-century.^[34]

These two oldest known Digambara tradition texts – Satkhandagama and Kasayapahuda – are predominantly a treatise about the soul and Karma theory, written in Prakrit language. Philologically, the text belongs to about the 2nd-century, and has nothing that suggests it is of "immemorial antiquity".^[34] In details, the text is quite similar in its teachings to those found in Prajnapana – the 4th upanga – of Śvetāmbaras.^[32] Between the two, the poetic meter of Satkhandagama suggests it was composed after the Śvetāmbara text.^[32]

Digambaras, unlike Śvetāmbaras, do not have a canon. They do have a quasi-canonical literature grouped into four literary categories called anuyoga (exposition) since the time of the Digambara scholar Rakshita.^[35] The prathmanuyoga (first exposition) contains the universal history, the karananuyoga (calculation exposition) contains works on cosmology, the charananuyoga (behaviour exposition) includes texts about proper behaviour for monks and lay people, while the dravyanuyoga (entity exposition) contains metaphysical discussions.^[35] In the Digambara tradition, it is not the oldest texts that have survived in its temples and monasteries that attract the most study or reverence, rather it is the late 9th-century Mahapurana (universal history) of Jinasena that is the most revered and cherished.^[36] The Mahapurana includes not only religious history, but also the sociological history of the Jaina people – including the Jain caste system and its origins as formulated by Rishabhanatha – from the Digambara Jaina perspective.^[37] The Digamabara tradition maintains a long list of revered teachers, and this list includes Kundakunda, Samantabhadra, Pujyapada, Jinasena, Akalanka, Vidyanandi, Somadeva and Asadhara.^[38]

The lifestyle and behavioral conduct of a Digambara monk is guided by a code called mulacara (mulachara). This includes 28 mūla guņas (primary attributes) for the monk.^[39] The oldest text containing these norms is the 2nd-century Mulachara attributed to Vattekara, that probably originated in the Mathura region.^[35]

These are: 5 mahāvratas (great vows); 5 samitis (restraints); 5 indriya nirodha (control of the five senses); 6 āvaśyakas (essential observations); and 7 niyamas (rules).^[40]

Digambara monks do not wear any clothes as it is considered to be parigraha (possession), which ultimately leads to attachment.^[68] The monks carry picchi, a broom made up of fallen peacock feathers for removing small insects to avoid causing injury and Kamandalu (the gourd for carrying pure, sterilized water).^[69][65] The head of all monastics is called Āchārya, while the saintly preceptor of saints is the upādhyāya.^[70] The Āchārya has 36 primary attributes (mūla guņa) in addition to the 28 mentioned above.^[40]

The monks perform kayotsarga daily, in a rigid and immobile posture, with the arms held stiffly down, knees straight, and toes directed forward.^[7]

Female monastics in Digambara tradition are known as aryikas.^[71] Digambara nuns, unlike the monks in their tradition, wear clothes. Given their beliefs such as non-attachment and non-possession, the Digambara tradition has held that women cannot achieve salvation (moksha) as men can, and the best a nun can achieve is to be reborn as a man in the next rebirth.^[1] The monks are held to be of higher status than nuns in Digambara monasteries, states Jeffery Long.^[1] From the Digambara monk's perspective, both Digambara nuns and Śvetāmbara monastic community are simply more pious Jain laypeople, who do not or are unable to fully practice the Jain monastic vows.^[72]

Digambara nuns are relatively rare in comparison to the nuns found in Śvetāmbara traditions. According to a 1970s and 1980s survey of Jain subtraditions, there were about 125 Digambara monks in India and 50 Digambara nuns.^[73] This compared to 3,400 nuns and 1,200 monks in the Śvetāmbara tradition.^[73]

The Digambar Akhara, which along with other akharas, also participates in various inter-sectarian (sampradaya) religious activities including Kumbh Melas, is completely unrelated to Digambar Jain tradition, even though they also practice nudity.^[74]

The Digambara Jains worship completely nude idols of tirthankaras (omniscient beings) and siddha (liberated souls). The tirthankara is represented either seated in yoga posture or standing in the Kayotsarga posture.^[75]

The truly "sky-clad" (digambara) Jaina statue expresses the perfect isolation of the one who has stripped off every bond. His is an absolute "abiding in itself," a strange but perfect aloofness, a nudity of chilling majesty, in its stony simplicity, rigid contours, and abstraction.^[76]

— Heinrich Zimmer

• 
  Kizhavalavu (Keelavalavu) Sculptures
• 
  The 57 feet (17 m) high Gommateshwara statue, Shravanabelagola
• 
  Tirthankara statues at Siddhachal Caves inside Gwalior Fort, Madhya Pradesh
• 
  Tirthankara Parshvanatha statue, Rajasthan

Modern Digambara community is divided into various sub-sects viz. Terapanthi, Bispanthi, Taranpanthi (or Samayiapanthi), Gumanapanthi, Totapanthi and Kanjipanthi.^[78] Both the terapanthis and bisapanthis worship with ashta-dravya which includes jal (water), chandan (sandal), akshata (sacred rice), pushp (yellow rice), deep (yellow dry coconut), dhup (kapoor or cloves) and phal (almonds).^[79] Bisapanthi religious practices include aarti and offerings of flowers, fruits and prasad whereas terapanthis don't use them.^[79] Bispanthis worship minor gods and goddesses like Yaksha and Yakshini like Bhairava and Kshetrapala whereas terapanthis do not.^[79] Bisapanthis accept bhattarakas as their religious leaders but terapanthis do not.^[79] Terapanthis occur in large numbers in Rajasthan, Uttar Pradesh and Madhya Pradesh.^[79] Bisapanthis are concentrated in Rajasthan, Gujarat, Maharastra and South India.^[79]

Padmanabh Jaini, a renowned Jain scholar, after researching the scriptures of the Digambara sect described several points of critique: -^[80]

1. Rituals and ascetic practices: Jaini points out that an emphasis on extreme ascetic practices such as public nudity and rejection of all possessions leads to a diminished focus on spiritual growth and a greater focus on the less important ritualistic practices.^[80]
2. Layperson-ascetic dichotomy: Jaini critiques the sharp distinction between the ascetics and laypeople which leads to a lack of spiritual agency among people.^[81]
3. Scriptural authority: Jaini questions the Digambara reliance on a highly limited set of scriptures that do not fully represent Jain principles and teachings as followed by the Svetambara sect. Jaini questions the Digambara rejection of the Śvētāmbara canonical scriptures. He argues that this rejection leads to a lack of unity and a fragmentation within Jainism. He also points out that the Digambaras' reliance on later texts as authentic scriptures might lack historical and textual rigor.^[82]
4. Gender and nudity: Jaini strongly argues that the practice of public nudity may reinforce patriarchal attitude and limit female spiritual agency. Digambaras hold that women must be reborn as men to attain salvation, which Jaini criticizes for its gender exclusivity and inequality.^[83] He argues that female nudity is not equally valued or allowed in the Digambara tradition which greatly limits female spiritual agency as Digambara belief states that moksha cannot be attained without nudity. Further, he states that male nudity leads to masculinization of spirituality. Jaini also mentions that the Digambara sect has historically been male-dominated with women facing several barriers in the path to spirituality and its evolution.^[80] His views are seconded by Paul Dundas who states that Digambara rejection of clothing could also signify their rejection of female bodily experience, as clothing is often associated with female modesty and domesticity.^[84]
5. Historical development: Jaini also deliberates that the Digambara tradition may have arisen in response to Hinduism, Ājīvikas, and Buddhism, rather than purely from within Jainism.^[82]

Nalini Balbir, another renowned scholar of Jainism, has criticised the Digambara views on liberation of women and advocates for a more inclusive and gender-equal interpretation of the scriptures. She lists her criticism in the following manner: -

1. Gender bias: Balbir sees the Digambara belief of women not being capable of attaining liberation in their current birth as gender discrimination.
2. Biological determinism: Digambara scriptures attribute spiritual limitations of women to their biology and consider them as unholy. Balbir criticizes this view as narrow and outdated perspective.
3. Lack of scriptural basis: Balbir argues that the narrative describing women not being able to attain liberation is not supported by ancient Jain scriptures (Śvetāmbara canon) and is based on later commentaries.
4. Contradiction with Jain principles: Balbir points out that this view is in contradiction to the fundamental Jain principle of equality and the potential for all living beings to attain liberation.

Balbir states that:^[85]

The Digambara sect's view that women cannot achieve liberation in their present birth is a 'biological determinism' that is not supported by Jain scriptures. This view is a 'patriarchal interpretation' that has been 'superimposed' on the original teachings of Mahavira.

— Nalini Balbir, Women in Jainism (2005)

Kristi L. Wiley, a scholar of Jainism, has also criticized the Digambara sect's views on liberation of women. Specifically, she highlights the following points of critique:^[86]

1. Exclusionary practices and patriarchal interpretations: Women are excluded from the highest spiritual status in Jainism (achieving liberation) by Digambara sect's scriptures. Wiley sees Digambara interpretations of Jain scriptures as patriarchal and biased against women.
2. Lack of agency: Digambaras deny the fundamental agency of achieving liberation (the highest status in Jain spirituality) through their own efforts, instead requiring them to rely on male intermediaries.
3. Inconsistencies with Jain principles: Wiley points out that these views are inconsistent with the fundamental principle of 'equal potential of all living beings to achieve liberation'. She adds that such views may constitute to 'symbolic violence' against women.
4. Textual manipulation: She alleges that the male-dominated Digambara sect has selectively interpreted and manipulated existing and ancient Jain texts to support their views by ignoring passages that highlight women's spiritual potential.

Scriptures of other religions and schools of thought such as Buddhism, Islam, and Sikhism also criticize and condemn public nudity followed by Digambara monks.^[87][88][89]

Other than rejecting or accepting different ancient Jain texts, Digambaras and Śvetāmbara differ in other significant ways such as:

• Śvetāmbaras believe that Parshvanatha, the 23rd tirthankara, taught only Four restraints (a claim, scholars say is confirmed by the ancient Buddhist texts that discuss Jain monastic life).

These are as follows 1. Ahimsa - nonviolence, non-injury, and absence of desire to harm any life forms. 2. Satya - truthful in one's thoughts, speech and action. 3. Asteya - non-stealing". One must not steal, nor have the intent to steal, another's property through action, speech, and thoughts. 4. Aparigraha - the virtue of non-possessiveness or non-greediness.

Mahavira inserted 5th vow ie Brahmacharya - sexual restraint or practice of celibacy. Renunciation of sex and marriage. This was thought to be understood to within 4th vow of Aparigraha, but was more specified as 5th vow of Brahmacharya.

Mahāvīra taught Five vows.^[90][91][92] The Digambara sect disagrees with the Śvetāmbara interpretations,^[93] and reject the theory of difference in Parshvanatha and Mahāvīra's teachings.^[91] However, Digambaras as well as Śvetāmbaras follow Five vows as taught by Mahavira. The difference is only that Śvetāmbaras believe Parshvanatha taught one vow less (the Four vows except Brahmacharya) than Mahavira. However, monks of Śvetāmbara sect also follow all 5 vows as stated in the Ācārāṅga Sūtra.^[94]

• Digambaras believe that both Parshvanatha and Mahāvīra remained unmarried, whereas Śvetāmbara believe the 23rd and 24th tirthankar did indeed marry. According to the Śvetāmbara version, Parshvanāth married Prabhavati,^[95] and Mahāvīraswāmi married Yashoda who bore him a daughter named Priyadarshana.^[96][97] The two sects also differ on the origin of Trishala, Mahāvīra's mother,^[96] as well as the details of Tirthankara's biographies such as how many auspicious dreams their mothers had when they were in the wombs.^[98]
• Digambara believe Rishabha, Vasupujya and Neminatha were the three tirthankaras who reached omniscience while in sitting posture and other tirthankaras were in standing ascetic posture. In contrast, Śvetāmbaras believe it was Rishabha, Nemi and Mahāvīra who were the three in sitting posture.^[99]
• According to Śvetāmbara Jain texts, from Kalpasūtras onwards, its monastic community has had more sadhvis than sadhus (female than male mendicants). In Tapa Gacch of the modern era, the ratio of sadhvis to sadhus (nuns to monks) is about 3.5 to 1.^[100] In contrast to Śvetāmbara, the Digambara sect monastic community has been predominantly male.^[101]
• In the Digambara tradition, a male human being is considered closest to the apex with the potential to achieve his soul's liberation from rebirths through asceticism. Women must gain karmic merit, to be reborn as man, and only then can they achieve spiritual liberation in the Digambara sect of Jainism.^[102][103] The Śvetāmbaras disagree with the Digambaras, believing that women can also achieve liberation from saṃsāra through ascetic practices.^[103][104]
• The Śvetāmbaras state the 19th Tirthankara Māllīnātha was female.^[105] However, Digambara reject this, and worship Mallinatha as a male.^[106]
• According to Digambara texts, after attaining Kevala Jnana (omniscience), arihant (omniscient beings) are free from human needs like hunger, thirst, and sleep.^[107] In contrast, Śvetāmbara texts preach that it is not so.

• Nudity in religion
• God in Jainism
• Kshullak
• Jain philosophy
• Timeline of Jainism
• Digambar Jain Mahasabha

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• Media related to Digambara at Wikimedia Commons