Think of the Tattvartha Sutra as a sweeping panorama of Jain thought, while the Dravyasamgraha zeroes in like a microscope on one key aspect: the nature of substances.

Scope and Purpose
• Tattvartha Sutra: Covers ten fundamental categories—dravyas (substances), gunas (attributes), karmas, and stretches into ethics, epistemology, cosmology, yoga and liberation. It’s the one-stop shop that’s earned respect across both Digambara and Śvētāmbara traditions for nearly two millennia.
• Dravyasamgraha: Focuses on just six substances—jīva (life), pudgala (matter), dharma (principle of motion), adharma (principle of rest), ākāśa (space) and kāla (time). Streamlined into clear, mnemonic verses, it’s designed for quick recall, ideal for students or monks memorizing the ontology.

Style and Structure
• Tattvartha Sutra: Written as terse aphorisms demanding a seasoned teacher’s commentary. Complex ideas get laid out in layered sutras—every nugget begs for unpacking.
• Dravyasamgraha: Reads almost like flashcards set to verse. Simple language, handful of lines per substance. Perfect for drilling down to essentials without getting lost in philosophical weeds.

Historical Context
• Tattvartha Sutra (c. 2nd–4th century CE): An early attempt to unify diverse Jain voices under one authoritative guide.
• Dravyasamgraha (c. 10th century CE): Emerged in a mature Jain landscape, where metaphysical foundations were already well understood—no need to reinvent the wheel, so the focus narrows.

Audience and Influence
• Tattvartha Sutra: Addressed scholars and interfaith thinkers, still cited in contemporary dialogues like the upcoming 2025 World Parliament of Religions.
• Dravyasamgraha: Tailored to insiders—monastic trainees and lay practitioners aiming for quick mastery of dravya theory.

In modern times, both texts find fresh life online—podcasts dissecting Umasvati’s ten categories or bite-sized videos on Nemicandra’s six substances. Each serves its purpose: one paints the big picture, the other cuts to the chase. Together, they form a yin-yang of depth and clarity in Jain metaphysics.