 So much has been written on how characters and features from the great Sanskrit epics of the Harivansha were transformed in corresponding works of the Jain literature and were incorporated in the universal history of the Jainas. Considerably less attention has been given to possible borrowings in the opposite direction, except for two articles by Padmanab as Jaini discussing the adaptation of the Jinnah Rishabha as an avatar of Vishnu in the Bhagavata Purana, especially in his article in the Soha's Bulletin of 1977, reprinted in his collected papers on Jainas studies. Jaini gives a detailed account of the biography of Rishabha as presented in the Bhagavata Purana, whose author had raised Rishabha to the position of an avatar of Vishnu. According to Jaini, it is highly probable that the Bhagavata Purana took details of Rishabha's life over from Jinnah Sena's Adipurana and polemicized against the criticism of the Brahmin caste in Jinnah Sena's book. I would agree for more than one reason that the polemics against the criticism of Brahmins, found particularly in a solemn speech put into Rishabha's mouth, are in response to Jinnah Sena. But I would rather doubt that the details of Rishabha's life as presented in the Bhagavata Purana are owed to Jinnah Sena's Adipurana. These details, as far as they were not actually invented by the author of the Bhagavata Purana, are also present in other earlier sources. Moreover, there is in the Bhagavata Purana, apart from some divergences concerning Rishabha's biography, no sign of Bharata's story, having anything to do with a brother named Bahubali, who is so popular in the South Indian tradition and partly even in the non-canonical Northern Jinnah tradition. But it is not known to the Angas or Uvangas of the Shwetambara Canon. My paper therefore traces earlier references to Jinnah Rishabha and his son Bharata in Hindu Puranas and investigates what might have been their Jinnah sources. The most influential source for the composition of the Bhagavata Purana was no doubt the Vishnu Purana, as I have shown elsewhere, even if it seems to understand itself officially as an improved revision or complement of the Mahabharata. From book three onward, it follows the Vishnu Purana in its overall Puranic agenda, which is based on the traditional five topics of a Purana, Purana Panchalakshana. The Vishnu Purana and visit the Bhagavata Purana deviates from the scheme, however, in one significant point. It includes in the section about the genealogies of the patriarchs, the Vansha, the cosmography, a topic which in most other Puranas that follow the Purana Panchalakshana agenda is not included in the traditional set of the five topics. It is in this context that Rishabha's biography is briefly presented in the Vishnu Purana as belonging to the genealogy of Priyavrata, a son of Manusvayambuva. This specific genealogy seems to appear only in two or three other Puranas, which are actually considered to be older than the Vishnu Purana, the Vario and Brahmanda Purana, originally identical, and the Markandeya Purana. And these Puranas also combine the genealogy of Priyavrata to which Rishabha and his son, Bharata belong with the cosmography, starting with the geography of the earth, which is closely interlinked with Priyavrata and his progeny. All other Puranas that follow the traditional Purana Panchalakshana scheme are silent about Priyavrata's progeny and do not include the geography or cosmography anywhere within these five topics. In the Vario and Brahmanda Purana we learn about Rishabha. Illustrious Nabi begot on Maru Devi, a son named Rishabha, the best of kings, the first born of the Kshatriya caste. From Rishabha, the hero Bharata was born as the eldest of 100 sons. After anointing his son, Rishabha set out for renunciation, pravrajya, that is he took up the life of the one wandering as a religious mendicant. The Makhandiyya Purana adds further half sloka, he practiced austerities and an eminent aesthetic, taking his abode in Pulahas Hermitage. So it seems that in this relatively old group of Puranas, Rishabha, the son of Nabi, was a king in the Manusvayam Bhuvayera, who gave up his kingdom in order to follow the aesthetic path to salvation. There is no doubt in affinity with the Jainah tradition, even if the mention of Pulahas Hermitage points to a Brahmani context. It would be difficult to decide whether the Puranic Rishabha is actually based on Jainah lore, or whether this is a genuinely Puranic side tradition from which the Jainas took over Rishabha as the first king, who then became also their first jinnah, according to the Jambudvipa Prachinapti as well as Badrabahu's Kalpasutra. There do not seem to be any earlier direct references to Rishabha in the Jainah canonic literature. As for the Vishnu Purana, it is presumably based on the Markandeya Purana in presenting this particular section of the Puranic Vansha topic, combining the genealogy of Priyavrata with the description of the earth. The author of this Purana has now to offer more details concerning the life of Rishabha, and some of these are certainly influenced by Jainah lore, which must have been well established by the time of the composition of the Vishnu Purana. His, that is Nabis, son from Merodevi was the illustrious Rishabha. From Rishabha was born Bharata. He was the eldest of a hundred of sons. After ruling his kingdom, according to his dharma, performing all kinds of sacrifices and consecrating his eldest son Bharata as king, the eminent Rishabha went to the hermitage of Pulastya for practicing asceticism. Having decided to live there in accordance with the rules of retirement to the forest, he practiced austerities as it should be done. And when this lord of the earth, emaciated by his austerities, had become extremely slim, with his veins trained like cords, naked putting a pebble in his mouth, he followed the path of the heroes, which means he fasted to death. Here the last shloka points clearly to the Jainah tradition, the term Vira, hero, is used abundantly in the Ayuranga Sutta as an epithet of the true ascetic who is indifferent to enjoyment or pain, who does not mind if he is not provided with arms, who avoids any contact with the world and who follows the difficult path which leads to when there is no return. The last bit is Ayuranga 1441. That he was naked is an agreement with all visual presentations of Rishabha. You see one there. What can be concluded from the Vishnu Purana evidence is that its author, even if he based his account on the Markandegya Purana, was no doubt also acquainted with some parts of the Jainah tradition. If one takes the somewhat extraordinary last chapter of book three in the Vishnu Purana into consideration as well, where the terms Arhata for a follower of the Jinas and the term Anikanta Vada as the main characteristic of their philosophy are used, one can even be more sure about the Vishnu Purana drawing on some parts of the Jainah doctrine available at that time and may reconsider the dating of the Vishnu Purana according to the occurrence of Anikanta Vada in Jainah texts which seems to be later than the date usually assigned to the Vishnu Purana. As for the Bhagavata Purana, it provides even more details about Rishabha but not only for him, but also for his ancestors, Priyavrata, Gnidra, Nabi who are all honored with a special chapter telling their lives. The reason for Rishabha being in an avatar of Vishnu is already given at the end of Nabi's story. It seems to be an order to teach a special kind of assisticism involving nakedness termed here Vata Rishana. In the three chapters dedicated to Rishabha, some more features which had not been mentioned in the Vishnu Purana have been taken over from the Jainah tradition. That is, for instance, his role as a teacher of arts and crafts to his people as found in the Jambu Dvipa, Prajanapti or in the Kalpasutra has been elevated to teaching the right dharma to his subjects. A special chapter has been devoted to a speech of his which is first about the right kind of spiritual life but it ends which could refer to more than one aesthetic tradition but it ends in a eulogy of the Brahmins which may indeed be a polemic against Jinnasena's Adipurana as P.S. Jaini suggested. His life as an ascetic is also depicted in more detail even his outward appearance which agrees with the well-known images of Rishabha. We have here one now with the locks and so on and the death of his wandering empty body in a forest fire which is of course not in agreement with the Jainah tradition. Looking at the parallel features in Jainah and Hindu Purana traditions, one has of course to be aware that both accounts appear in their own historical frame which is in both cases a time long before our historical time. In the Hindu tradition, Rishabha belongs to the descendants of a son of Manusvayambuva, three Manu periods away from our present Manuva Vasvata. Similarly in the Jainah tradition, Rishabha belongs to a period far earlier than ours to the end of the Sushama Dushama period with all other Jainas still to follow it in the Dushama-Sushama period which ended with Mahavira. But probably the distance in time facilitated the acceptance of Rishabha in both traditions. Contemporary Jainas and possibly Mahavira were presented with considerably more negative criticism in both the Vishnu and Bhagavata Puranas as had been pointed out already and discussed by P.S. Jaini. Turning now to Bharata in the accounts of all five Puranas that present Priyavata's genealogy, Bharata is identified as the oldest son of Rishabha after whom the region south of the snow mountain was named Bharata Varsha. To Rishabha was born the valorous Bharata as the first before hundred sons. Having consecrated him as king, Rishabha set off for the life of an ascetic. He gave the southern section of Jambudvipa which had called Himachva after the snow mountain to Bharata. That is why the wise know it by the name Bharata Varsha. This was the early three Puranas Varyubramanda, Markandeya. The Vishnu Purana has a little more. That is why this region is famous as Bharata Varsha since it was given to Bharata by his father when he set off for the forest. None of the Puranas offers a more convincing explanation why the subcontinent should be named after him and not after somebody else in his family line. Nor does the Jambudvipa Prajnapati associate this name with the first Chakravartin Bharata but states that it is an eternal name that has always been there. Probably the name referred originally to a tribe or clan known already in the Rigveda and its country was named after them from Vedic times onward. The Puranic account agrees on the whole with the traditional Jain universal history in which Bharata, the first emperor or Chakravartin is regarded as the eldest son of Rishabha. The first occurrence of his name in the Jainar Canon in Uttarajaya attests him indeed as the first ruler in a sequence of 12 or 16 where he who gave up his kingdom called Barahambarsam after coming to know about the pure faith of the Jinas. Having learned this pure creed which is adorned by truth and righteousness Bharata gave up Bharata Varsha and all pleasures and entered the order. That's the translation of Yakobi. But there is no mentioning of his family. He is not even called a Chakravartin here but one has to assume that Barahambarsam referred to the subcontinent as also in the case of three or four others of his successors. In the Upanga text Jambudvipa Prajnapati which gives the first extensive account of Rishabhas and Bharata's lives. Bharata is not mentioned among the hundred sons of Rishabha to each of whom Rishabha gave a kingdom. And in the section about Bharata's conquest of the earth Bharata is said to be born in a noble royal family which is not further identified. The first Jainar thoughts to connect the two names as being father and sons is probably the Avasya Karno Yukti followed by other accounts of the universal history like Sri Lanka's Chaupana, Mahapuri, Satcharya and later Sanskrit texts. And we would have learned something from Vansida but no doubt about that. All the Puranic texts dealt with in my paper agree with the oldest attestation in the Jainar canon and reporting that Bharata resigned his kingdom and adopted the life of a hermit. The Varyu and Brahmanda Purana have the following account. Bharata's son was the knowledgeable Sumati following the Dharma. To him Bharata entrusted the kingdom. Having transferred his royal power to his son the king entered the forest. The Markandeya Purana does not differ greatly from this. The Vishnupurana has as usual a little more to offer. Bharata's son was Sumati, highly knowledgeable about the Dharma. To him, his father, performing sacrifices, gave the empire after making it complete. I'm not quite sure about that. Having transferred his royal power to his son King Bharata gave up his life in Shalagrama, oh hermit, on account of being engaged with yoga. And he was reborn as a Brahmin in an excellent family of yogis. Mitriya, I'll tell you his life story again later. This is of course an interesting deviation from the common traditions. Such a rebirth is not mentioned either in Jainas sources or in the other puranas, except for the Bharata Purana as usual. Perhaps even more interesting is the fact that when the story is indeed taken up in a sort of appendix in the last four chapters of the Vishnupurana's second book after the topic of cosmography is concluded, the details of Bharata's life in the forest are changed. He does not give up his life in practicing yoga, but staying as a hermit in Shalagrama, he brings up a little fawn whose mother was killed by a lion and gets so much attached to it that when he dies, he thinks of this fawn only and is consequently reborn as a deer. After an austere life as a deer, he is again reborn this time at last in a family of yogins, but he turns out to be a very untypical Brahmin behaving like a stupid idiot, Jada. Nevertheless, he develops deep philosophical thoughts. Serving as a palanquin bearer to a king, he teaches the king divine knowledge and ultimately reaches liberation. Followed by a special phala study indicating that it may have been an independent text piece. The story is taken up also in the Bhagavata Purana, but here it is integrated more smoothly into Bharata's biography before the topic of cosmography is eventually presented. These two versions of the legend are compared in detail by Ernst Leumann in 1894. He suggests that it had its origin in the so-called Parivrajaka literature since the name Jada Bharata, Jada Bharata, sorry, occurs in the Jabala Upanishad together with seven others in a list of Paramahansa monks who have reached the highest grade of world renunciation. This may very well be the case since the story in the Vishnu Purana shows a significant use of the word Jada in different combinations. Although the name Jada Bharata never occurs, the rebirth story may have been a convenient device for a Vaishnava text to connect the king Bharata with another aesthetic strand that was probably in line with their own Advaita philosophy. The Hindu tradition knows of course of more than one Bharata, the most famous being another Chakravartin. Bharata, the son of Shakuntala whose descendants are the protagonists in the great epic Mahabharata. He turns already up in the Aitareya Brahmana in a list of kings who conquered the world and performed a horse sacrifice, similarly in the Shatapata Brahmana. And his name occurs in, more than that his name occurs in various lists of famous kings in consolation speeches in the Mahabharata who in spite of their royal splendor had to face death. This is perhaps not so far away from the list of kings who gave up their royal splendor in order to follow the path of the Jinas in the Uttarajaya. So there may be another point of contact there. To sum up, as for the connection of Bharata with Rishabha, there seems to be a common tradition in a few of the Puranas and the traditional Jaina universal history which is not yet found in earlier canonical texts. But like the Jambudripa Prajnapati, the Puranas have not adopted or did not want to adopt the Bahubali legend. Since exact data are very difficult to establish for either the earlier Puranas or the earlier Jaina texts, it is very difficult to decide in which direction they may have been some borrowing if there was some borrowing. One can however be quite sure that the Vishnu Purana as well as the Bharata Purana were familiar with several aspects of the Jaina tradition, including contemporary Jaina practices which seem to have been viewed in a negative light or their philosophical attitude known as Anikanta Vada in the Vishnu Purana which seems also to have introduced the device of rebirth stories, culminating in final emancipation, so common in Jaina narrative literature into its discourse. But this topic requires further investigation. Thank you.