Article: Bhaktāmara-stotra

Gods composing hymns of praise
Image by Diwakar Prakashan / Padma Prakashan © Diwakar Prakashan / Padma Prakashan

The composition of the Bhaktāmara-stotra is unanimously ascribed to an author named Mānatuṅga, who was a Jain monk. The titles ācārya – ‘teacher’ – or sūri – ‘pontiff’ – may be attached to his name. But historical information about him is scarce, and his date remains a matter of hypothesis or controversy.

With both major sects claiming him as a member, Mānatuṅga and his famous composition are accorded authority among all Jains. Various tales relating to the creation of the hymn share the episode that demonstrates the power of the hymn and belief in the Jain doctrine. This features Mānatuṅga’s recitation of the Bhaktāmara-stotra freeing him from the chains that bind him.

All available sources date back to the 13th century or later. They are:

• bio-hagiographical works about important Jain teachers – prabandhas
• introductory stories in the commentaries on the hymn
• monastic lineages – paṭṭāvalīs.

Of the bio-hagiographical writings, two have accounts of Mānatuṅga:

• Prabhācandra's Prabhāvaka-carita, completed in 1277 CE
• the 1304 Prabandha-cintāmaṇi by Merutuṅga.

All types of sources present Mānatuṅga as an ‘ancient teacher’ (Jacobi 1932: VII):

Different sources pretending to be based on tradition yield the following approximate dates of Mānatuṅga A.D. 300, 420, 630, 850, 925 or 1050

Jacobi 1932: VII

According to recent Indian scholarship (Dhaky 1997), Mānatuṅga could have lived in the 6th century CE. The earliest commentary on the hymn, however, dates back only to the 14th century. This gap is difficult to explain if the hymn were composed so early.

Ācārya Mānatuṅga is associated with Bhojpur, located 30 kilometres from Bhopal in Madhya Pradesh. The tale of the composition of the hymn always involves the poet’s release from chains. The story continues with Mānatuṅga’s staying in this locality, where he practised penance and ended his life by fasting to death. Mānatuṅga’s association with Bhojpur has led to the establishment of artefacts and memorials here, such as:

• a shrine
• an ‘emancipation-rock’ – siddha-śilā
• holy footprints – pādukās.

The neighbouring village of Ahu has the ruins of 48 pillars, which are supposed to represent the jail where Mānutuṅga was kept. Their number is the same as the number of stanzas in the Digambara hymn.

The Prabhāvaka-carita story has an interesting feature. It says that Mānatuṅga was the son of a businessman. He renounced the world and became a Digambara monk, taking the name Mahākīrti. Later on, his sister converted him to the Śvetāmbara path. Whether historical fact or not, this successive affiliation to the two principal Jain sects explains why both groups consider:

• Mānatuṅga to be theirs
• the Bhaktāmara-stotra to be authoritative and famous.

Bhaktāmara-stotra opening
Image by British Library © CC0 1.0 (Creative Commons Public Domain)

There is no doubt that the Jain tradition regards Mānatuṅga as an important figure with great charisma. The composition of the Bhaktāmara-stotra has attracted attention in the various commentaries and profiles of Mānatuṅga. The poet gains his freedom and demonstrates the supremacy of the Jinas, especially compared with the deities of Hinduism, the majority faith in India.

According to one version of the tale behind the hymn, three poets were called to the court of King Vr̥ddhabhoja in Avanti, in central India. When they were asked to demonstrate the marvels of their poetical art:

• Bāṇa recited a hymn called the Caṇḍikā-śataka, which is dedicated to the Hindu goddess Caṇḍikā, ‘the Terrible’
• Mayūra, also a Hindu, recited the Mayūra-śataka
• Mānatuṅga asked to be put in chains, then started to recite the Bhaktāmara-stotra, whereupon the chains fell off and the locks broke.

As a result, the king paid due attention to the poet and the Jain faith.

In a slightly different version, Vṛddhabhoja, the king of Avanti, jailed the Jain teacher Mānatuṅga and held him in chains. This was meant as a test, for the king wanted to witness a miracle. The monk meditated for three days and on the fourth day composed this hymn. He chanted the second-last stanza. This is numbered 42 in the Śvetāmbara version while it is 46 for Digambaras.

The chains broke instantly and Mānatuṅga walked freely out of the prison. The king was astonished, and convinced by the power of devotion to the Jina. Vṛddhabhoja became Mānatuṅga's follower.

Yet another variant of the story says that Mānatuṅga was kept in a prison with 48 locks. When he recited each of the 48 stanzas of the hymn, each lock broke in turn.

A slightly different version in the Digambara tradition is found on the HereNow4U website.

The setting of the story may show variants, but the main motif is identical. The chains or locks binding the poet break after he recites one or all stanzas in the hymn. Whether the story sets the Jain poet in competition with non-Jain colleagues or not, it is also clearly meant to show the superiority of Jainism and the Jinas over Hindu gods and goddesses.