Though Hinduism has now virtually been rooted out of Kashmir, the region, at onetime, was a renowned center of learning. And, its erudite and enlightened scholars such as Abhinavagupta (10th century), Augusta (8th century), Somananda (9th century), Utpaladeva (9th century), Anandavardhana (9th century) and others made immense contribution to the development of Indian Philosophies, literature and art.
The most outstanding of them was Abhinavagupta Acharya (c. 950 to c. 1020 C.E) a great philosopher, intellectual and a spiritual descendant of Somananda the founder of the Pratyabhijna, the “recognition” metaphysics school of Kashmiri Saivite monism. Abhinavagupta was a many sided genius and a prolific writer on Shaivism, Tantra, aesthetics, Natya, music and a variety of other subjects. Among his most notable philosophic works are the Isvara-pratyabhijña-vimarshini and the more detailed Isvara-pratyabhijña-vivrti-vimarsini, both commentaries on Isvara-pratyabhijña (Recognition of God) by Utpaladeva , an earlier philosopher of the pratyabhijna school .
Abhinavagupta’s works on poetry , drama, and dance, include the Lochana a commentary on the Dhvanyaloka by Anandavardhana; and, the Abhinavabharati a detailed commentary on Bharata Muni’s Natyasastra , covering almost every important aspect of Indian aesthetic and poetics . His theory of Rasa is a land mark in Sanskrit art and literature.
Abhinavagupta was born in Kashmir, probably around 950 A.D. The tradition has it that after his 70th year Abhinavagupta entered the Bhairava cave near the village Bhiruva, along with his 1200 disciples; and , was never seen again.
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Abhinavagupta opens his work Tantrasàra, with the Verse :
Vimalakalà-asrayà-abhinavasrsti-maha janani/bharitatanus ca pancamukha-guptarucir janakah /
tadubhaya-yàmala-sphurita-bhàva-visargamayam/Dhrdayam-anuttaràmr-takulam-mama samsphuratàt //
May my heart shine forth, embodying the bliss of the ultimate, for it is one with the state of absolute potential made manifest in the fusion of these two, the `Mother’ grounded in pure representation, radiant in ever new genesis, and the `Father,’ all-enfolding [Bhairava], who maintains the light [of consciousness] through his five faces {formed from the emissions produced through the fusion of these two, my mother Vimalà, whose greatest joy was in my birth, and my father [Nara]Simhagupta, [when both were] all-embracing in their union. Translation by Alexis Sanderson
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What little is known of him comes from his works; and, in his own words. At the end of Ishwar Pratyabhijna Vimarshini, a commentary on Kashmir Shaivism text ascribed to Utpaladeva, Abhinavagupta states that his remote ancestor Attrigupta, a great Shaiva teacher, who lived in Antarvedi – a tract of land lying between the Ganga and the Yamuna – migrated to Kashmir at the invitation of the King Lalitaditya (700-736 A.D) . He was followed, many generations later, by Varahagupta another great scholar of Shaiva philosophy. His son, Narasimha Gupta, a great Shaiva teacher , was the father of Abhinavagupta. And Vimla or Vimalkala was the mother of Abhinavagupta (vimalakalāśray ābhinavasṛṣṭi mahā janan) . His father’s maternal grandfather, Yashoraja, was a man of great learning and wrote a commentary on Paratrinshika . a dialogue between Bhairava (Shiva) and Bhairavi (Shakti) .
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Abhinavagupta always described himself as kashmirika, as one hailing from the land of Kashmira.
It is believed that Abhinava was a Yoginibhu, i.e. born of a Siddha and Yogini. The Kaula system believes that a progeny of parents who are sincere devotees of Lord Shiva is endowed with exceptional spiritual and intellectual prowess; and ,will be a depository of knowledge.
Abhinava might not have been his real name, but one assigned to him by his teachers, because of his brilliance. He describes his work Tantraloka (1.20) : ‘This is the work written by Abhinavagupta, who was so named by his Gurus”- abhinavaguptasya kṛtiḥ seyaṃ yasyoditā gurubhirākhyā. The name Abhinava suggests the virtue of being “ever-new and ever creative, progressively innovating oneself”.And, it also suggests competence and authoritativeness. Abhinavagupta was, in fact, all these and more.
He was also referred to as Abhinavagupta-pada. The suffix pada signifies a reverential form of address (say, just as in Sri Shankara Bhagavat-pada) . There is also a clever explanation of the term “gupta_pada” which translates to “one with hidden limbs” , a poetic synonym for snake. Thus, Abhinava was also regarded as an incarnation of Sesha , the legendary serpent.
Abhinava lost his mother Vimalakala when he was just two years of age. The pain of separation and the longing for his mother haunted him all his life. He, later in his works, frequently referred to his mother with love and reverence. The relation between the mother and the child, he said, is the closest that nature can forge. The bond of love and friendship between the mother and the child is the strongest; and, is the most enduring bond in the world.
While ruing the loss of his mother early in his childhood, Abhinavagupta reconciled to the fact , saying : It is the will of God , who prepares men for the future work to be accomplished through them – Mata vyayu-yujadamum kils balya eva / Devo hi bhavi-parikramani samskaroti//
His father Narasimha-gupta (aka. Cukhulaka), after the death of his wife Vimalakala, assumed an ascetic way of life; and yet continued to bring up his three children (two sons : Abhinava, Manorata and the daughter Amba). He became more focused on his spiritual endeavor. He was Abhinava’s first teacher. Abhinava, later, recalled his father with gratitude for the training he received from him in Grammar (pitra sa sabda-gahane-krta-sampravesah), logic, literature and music (geya vidya).
Abhinava was a diligent pupil ; and, put his heart and soul in to his studies. By one account, Abhinava had as many as fifteen teachers; Narasimha Gupta, his father being his first teacher. His other teachers were said to be : Vamanatha; Bhutiraja; Bhutiraja-tanaya; Laksmanagupta; Induraja; and Bhatta-Tota. These teachers taught the boy Abhinavagupta varied subjects , such as : Tantras; Brahmavidya; monistic Saivism; Krama ; Trika; Dhvani; and Dramaturgy
Among his teachers. Lakshmana Gupta was the son and a direct disciple of Somananda, in the lineage of Tryambaka. He taught Abhinavagupta the monastic subjects: Krama, Trika and Pratyabhijna (except Kula).
His two other teachers on these subjects were Bhutiraja and his son Helaraja, both of whom were adepts in Prathyabhijnana and Karma systems
The most prominent of his teachers was , of course, Shambhu Natha of Jalandhara (in the present-day Punjab). Guru Shambhu Natha, who preached monistic shaivism, initiated Abhinava in to Ardha_thrayambaka , a doctrine of Kaula school of Tantric tradition. It is said that Shambhu Natha asked his wife to act as a conduit (dauti) for transmitting the initiation through Kaula process (having sexual connotations). It was at the instance of Shambhu Natha that Abhinava authored his monumental Tantraloka, in which he compared Shambhu Natha to the sun in his power to dispel the darkness of ignorance; and to the moon shining over the ocean of Trika knowledge.
śrī śambhunātha bhāskara caraṇa nipāta prabhā pagata saṃkocam abhinavagupta hṛdambuja metad vicinuta maheśa pūjana hetoḥ //1. 21
[While on the topic of teachers, let me suggest to you , a very scholarly dissertation submitted by Benjamin Luke Williams to the Harvard University during December 1917-Abhinavagupta’s Portrait of a Guru: Revelation and Religious Authority in Kashmir. Mr.Williams observes, among other things, : The conception of an ideal guru in the writings of Abhinavagupta lays stress on the guru’s capacity to awaken their disciple to an all-encompassing grasp of reality. It also exceeds this requirement through an implicit argument – modeled by Abhinavagupta’s narration of his own religious education – that the guru should be scholastically trained; and, be sensitive to the beauty of Sanskrit literature….the ideal guru should not only be a fully-enlightened master; but, should also be schooled in the finer points of Indian scholastic discourse and a connoisseur of Sanskrit poetry; in short, a multi-cultural Siddha. ]
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As regards his immediate family, it is said, Abhinava had a younger brother Manoratha and an elder sister Amba. Manoratha was one among Abhinava’s earlier batch of disciples. And, one of his fellow students was Karna married Amba. Karna and Amba had a son Yogeshwar–datta , who was precociously talented in Yoga. After the death of her husband, Amba too devoted herself entirely to Yoga and to the worship of Shiva. Later, Amba’s in-laws too became devote followers of Abhinava.
A cousin of Abhinava was Kshema who later became renowned as his illustrious disciple Kshemaraja. Mandra, the cousin and childhood friend of Karna, too became Abhinava’s disciple. Vatasika, Mandra’s aunt, took exceptional care of Abhinava and offered him support to carry on his life’s work. It was while staying in her suburban house at Pravapura (eastern district of the present-day Srinagar) that Abhinava wrote and completed his Tantraloka, in which he recorded his gratitude towards Vatasika for her concern, dedication and support. Abhinavagupta also mentioned his disciple Rāmadeva as being faithfully devoted to scriptural studies and for serving his master.
He also mentions that while writing this text, he recollected all the shastras he had earlier learnt from all his Gurus
Ittham grhe Vatsalika-avartane sthitah samadhyaya matim/ bahuni purva-srutanya-kalayan svabhuddhya shashtrani tebhyah samavapya saaram
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Abhinava did not become a wandering monk nor did he take on Brahmanical persuasions. He did not marry (Dara-suta-prahrti-bandhakatham-naptaha); he followed an ascetic way of life; and yet, he lived in his ancestral home surrounded by the members of his family, loving friends and disciples. He lived the life of a scholar, a teacher and a Yogi immersed in Shiva. Referring to the atmosphere in his family, Abhinava said,” All the members of the family regarded material wealth as a straw and they set their hearts on the contemplation of Shiva”- Ye sampadam truna-mamamsata Shambh-seva –sampuritah svahrudayam hrdi bhavayantah (Tantraloka 12.)
He lived in a nurturing and a caring environment. An epoch pen-painting depicts him seated in Virasana, surrounded by devoted disciples and family, performing on Veena while dictating verses of Tantrāloka to one of his attendees, as two dauti (women yogi) wait on him. He was ever surrounded by his friends and disciples.
Madhu raja , a disciple of Abhinavagupta, in his stotra praising his Guru, calls him ‘Abhinava Dakshinamurthi Devah’ – an incarnate of Sri Dakshinamurthi. The following is the gist of the Dhyana–sloka composed by Madhuraja in honor of his Guru, as translated by Dr. K . C. Pandey.
May that Supreme Being Sri Dakshinamurthi in the form of my Guru Abhinavagupta , who is an incarnation of Shiva Srikantha ; and ,who has come to Kashmir ; may he protect us all.
His eyes are glowing with spiritual bliss. The center of his forehead is clearly marked with tri-pundraka, three lines drawn with the sacred ash (Bhasma). His ears adorned with Rudraksha are beautiful. His luxurious hair (Shikha) is tied with garland of flowers. His beard is long. His body shining like roses. His neck appears black, because of its being smeared with paste of camphor , musk , sandal, saffron etc., indeed looks splendid.
His long Yajnopavita is left loose. He is attired in silk cloth, white like the moon-beams. He is sitting majestically in Virasana, on a soft cushion placed over a throne of gold, over which is a canopy decked with strings of pearls . His right hand wearing the rosary of Rudraksha is resting on his right thigh; with his fingers gesturing Jnana-mudra . He, with his lotus-like delicate fingers of the left hand is also playing upon the Veena spreading melodious and enchanting Music (Nada) all around.
He is seated in an open hall decorated with beautiful eye-catching paintings . And, the hall looks superb with rows of lamps and sweet-smelling garlands, colourful flowers . And, the entire area is pervaded by the fragrance of incense and sandal etc. The hall is resounding with melodious songs and music on various instruments. There are also dancers displaying their skills joyfully. His assembly was also honoured by the presence of Yoginis and Siddhas who attained a high status.
The Great Guru Abhinavagupta is attended by all his pupils, such as Kshemaraja who devotedly sits at the foot of his master and studiously writing down the utterances of the Master. There are also two female messengers (Dutis) standing beside the Guru ; and, serving him with whisks. They also hold a jar full of water distilled from the grain kept soaked in water for three nights (Shiva –rasa). They also carry a box of betel-leaves, a basket of citron and lotus.
No wonder that about 1,200 of his friends and disciples faithfully followed Abhinavagupta, as he marched in to the Bhairava cave, reciting loudly his Bhairara_stava, never to be seen again.
Kāśmīrīya Mahāmāheśvara Ācārya Abhinavagupta (A biographical docu-feature on his life & works)
And
Here for Abhinavagupta’s Unique Contribution to Indian Tradition by Dr. N C Panda ]
A prolific writer on a wide ranging subjects , Abhinava authored more than about 40 works, some of which survive to the present day.
Abhinavagupta’s works are sometimes classified according the branches of his triad (trika) will (icchā) – knowledge (jnana) – action (kriya).
But according to another classification, Abhinavagupta’s works fall into four broad groups.
The first group of his works deals with Tantra. His monumental encyclopedic work the Tantraloka or Light on the Tantras is an authoritative text. It explores doctrine and the inner meaning of rituals in the Shaiva and Shakta Agamas.
The text is named as Tantraloka; because, it is said to light up the path of the ardent followers of the Tantra (Alokamasadya yadiyamesha lokah sukham sancharita kriyashu)
The work came to be written at the request of Manoratha , his cousin and his pupils Mandra and others.The actual writing took place, while Abhinavagupta was staying in the house of Mandra , located in Pravarapura ( eastern district of the present-day Srinagar)
The text enumerates the Tantrik Agamas and the three methods of realizing the Ultimate Reality: Sambhavopaya, Saktopaya and Anovapaya. The Tantraloka , apart from being a philosophical work, is also a practical guide to the arnent students of Tantra-vidya.
iti samadhikamenam trimsatam yah sada budhah / ahnikanam samabhyasyetsa saksadbhairavo bhavet
Tantraloka is a detailed work divided into thirty-seven Ahnikas (Chapters). It has been published with commentary of Jayaratha. The topics discussed therein are : (1) the cause of bondage;(2) the way to freedom;(3)knowledge as distinct from ignorance;(4) the concept of Moksha ;(5) what is the ultimate reality ; (6) manifestation of the universe ;(7) Bimba-Pratibimba Vada; (8) Shaiva Agama; and,(9) Biographical notes.
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Tantrasara is a summarized version of Tantraloka. The Tantrasara containing twenty-two Ahnikas deals with a variety of topics which have a bearing on varied spiritual disciplines. It gives prominence to the various modes of spiritual disciplines prescribed for different classes of spiritual aspirants. It also explains the ancillary topics such as the concept of Divine Grace; different kinds of initiatory rites (Diksha); and, the modes of Shaiva worship etc. Besides, it also discusses the abstract aspects of Trika School of philosophy. The entire text is replete with mystic symbols and description of esoteric practices.
Tantra-Vata-Dhanika is a small work in verse form, which aims to teach the principles of Shaiva Tantras in a nutshell. Basically, this text is a brief summary of Tantraloka. It is like a seed, dhanika of the huge banyan tree, vata of Tantra ideology.
Paramartha-sara is text containing 105 karikas. It is called Paramartha-sara, because it encapsulates the essence (Sara) or the hidden (ati-gudham) principles of the Trika Philosophy, as explained by Abhinavagupta – aryasatena tadidam samksiptam sastra-saram-atigudham. This text is said to be an adaptation of the Adhara-karikas of the revered sage Sesha Muni, who is also referred to as Adhara Bhagavan. The Paramartha-sara of Abhinavagupta, mainly, deals with subjects such as: metaphysical reality; ontology of Shaiva Siddantha; theories concerning creation; manifestation of thirty-six Tattvas; causes for human bondage; and, the ways leading towards liberation etc. Yogaraja,one of the disciples of Ksemaraja wrote a detailed commentary on Paramartha-sara.
The other important work of this group is Malini-Vijaya Vivrti , a commentary. It is a voluminous work, composed in simple Sanskrit verse on the philosophic principles and doctrines of practice of Kashmir Shaiva Siddantha. The alternate title of this text is Sripurva-shastra. It was, initially, addressed to two of his pupils: Karna and Mandra – sacchisya-karna-mandrabhyam codito‘ham punah.
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The second group consists few small treatises like Bodh-Punch Dashika; and Stotras or hymns in praise of deities such as Bhairava. The text is made of sixteen Sanskrit verses. It is called Bodha-panca-dasika, because, in fifteen verses, it teaches the basic principles of monistic Shaiva doctrine . It speaks of the Shaiva conception of Shiva and Shakthi; their relation; and, the consequent emanation of the universe etc .The last and the sixteenth verse ,briefly states the object of the composition- sukumara-matin sisyan-prabodhay-itumanjasa / ime Abhinava-guptena slokah pancadasoditah//
The Bhagavadgitartha-sangraha is a short commentary on Bhagavad-Gita, where Abhinavagupta gives the traditional interpretation from the Shaiva point of view.
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A third group includes his works on art of the theater and art of writing plays; poetics; aesthetics and the rhetoric. The great scholar Prof. P.V. Kane remarked “his two works, i.e. Lochana and Abhinavabharati are monuments of learning, critical insight, literary grace and style.” Lochana, his commentary on Dhvanyaloka of Anandavardhana is a highly regarded work in aesthetics. Abhinavabharati is an extensive commentary on Natyasastra of Bharata Muni. His analysis of Rasa is very appealing and distinguishable from other interpretations. For example, Bharata talks about eight types of Rasa, while distinguishing it from sthaayibhaava.
The Abhinavabharati and Lochana suggest that bhoga (pleasure) is produced not only by the senses but also by the removal of moha (ignorance). They also suggest that art and literature are not mere vinoda (entertainment) but are outpourings of the ananda arising of knowledge.
The Abhinavabharati is the earliest available, the most famous and celebrated commentary on the Natyashastra of Bharata, expounding , among other things , on the theory Rasa.
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Abhinavagupta emphasized that intuition (prathibha), inner experience was the lifeblood of good poetry. He said , creativity (karaka) was the hallmark of poetry as it brings into the world a new art experience. Poetry need not aim to remind (jnapaka) what is already present; that , he said , was the function of sastras. A poet need not seek justification or approval of scriptural authority. He is the lord of his domain. He is the creator. Abhinava recommend, the poet need not allow himself to be bound by logic, propriety and such other restrictions.
Abhinavagupta , in his Lochana, says prathibha the intuition might be essential for creation of good poetry . But , that flash of enlightenment alone is not sufficient . He explains , what sustains that vision is the “unmeelana_shakthi” which is something that charges the mind, opens up or awakens the potent faculties.
Abhinavagupta clarifies that prathibha is inspirational in nature and it does not, by itself , transform automatically, into a work of art or poetry. It needs a medium to harness it, bring it forth through lively , delightful or forceful expression . And , that medium has to be cultivated, honed and refined diligently over a period to produce a work of class.
In this context, Abhinavagupta mentions three essentials that a poet has to keep in view. They are Rasa (rasa_vesha), Vaishadya and Soundarya.
The rasa concept is well known ; and, is expounded by Bharata muni.
The second one refers to clarity in thought, lucidity in expression and comfortable communication with the reader.
The third is the sense of poetic beauty . A good poetry can manifest, according to him, only when the delightful combination of these three essentials are charged or supported by prathibha.
He cites Valmiki and kalidasa as classic examples; and, states it is the wonderful combination of those poetic virtues and prathibha that sets them apart from the rest of the tribe.
[Abhinavagupta , it appears had a special regard for Kalidasa. In his Locana, while commenting on Anandavardhana’s Dhvanyaloka, Uddyota-1 – DhvK_1.6; and speaking of pratibhā-viśeṣam , the creative genius, Abhinavagupta ponders :
In this wonderful stream of literature, flowing since the time immemorial, there have been varied types and class of poets . And, there have been some gifted poets in each generation . But, tell me; how may of those can even be compared to the matchless , Sovereign (prabhṛtayo) Kalidasa. You might be able to name a very few , say, two , three or , at best, five; but, surely never more than that.
pratibhā-viśeṣaṃ pari-sphurantam abhivyanakti / yenāsminnati vicitra kavi paramparā vāhini saṃsāre kālidāsa prabhṛtayo dvitrāḥ pañcaṣā vā mahākavaya iti gaṇyante / ]
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The fulfillment of poetry is Ananda, joy. It therefore needs a good reader (Sah_hrudaya) who can understand, appreciate, empathize and enjoy the beauty of the poetry. He is an integral part of poetic experience.
Subash kak remarks “Abhinava emphasized the fact that all human creativity reveals aspects of the seed consciousness. This explains his interest in drama, poetry, and aesthetics.”
The last group constitutes his work on the Pratya–bhijnyasastra, the monistic philosophy of Kashmir Shaivism. In this group , we have his matchless contributions to this system. Among his most notable works in this category are the Isvara-pratyabhijña-vimarsini and the concise Isvara-pratyabhijña-vivrti-vimarsini, both commentaries on Isvara–pratyabhijna (“Recognition of God”) by Utpaladeva, an earlier philosopher of the pratyabhijna school.
The Para-trisika-vivarana on the Trika system of yoga is very profound text detailing minute ideas regarding the esoteric principles and doctrines of the Trika system of Shaiva-yoga in its highest aspect. The text deals with Ultimate Reality, Para Tattva; and the path to its realization, centered above on the theory and practice of mantra Yoga.
[ Abhinavagupta dedicates this monumental work to his Parama Guru Somananda saying : I have written this work after reflecting and meditating on the thoughts of Sri Somananda that have spontaneously entered my heart ; enabling me to realize the same pure state of Truth.
Tat-tattva-nirmala-sthithi-vibhaghi-hrdaye svayam pravistamiva / Sri Somananda-matham vimarshya maya nibaddamidam// ]
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Abhinavagupta was a devotee of Lord Shiva ; and, he led a celibate life. He is considered the greatest exponent of the Kashmiri Saivite monism. This school viewed Shiva (the manifestation of ultimate reality), the individual soul, and the universe as essentially one. The philosophy of pratyabhijna refers to the way of realizing this identity.
Kashmir Shaivism is intensely monistic. It is not much concerned with worshiping a personal god ; its emphasis is upon meditation , reflection and guidance by a guru. It aims at attaining the transcendental state of Shiva consciousness.
It explains the creation as Shiva’s abhasa, shining forth of himself in his dynamic aspect of Shakti. Abhasavada is therefore another name of the system . Shiva the Supreme Self is immanent and transcendent; and performs , through Shakthi , the five actions of creation, preservation, destruction, revealing and concealing. During this process , Shiva as the Universe Vishwanatha, on his own will creates , expands, flourishes , retracts in to a most minute form till the next cycle of creation and expansion.
Kashmir Shaivism is called Trika philosophy because all its interpretations are three fold. Trika stands for threefold science of the individual, the energy and the universal consciousness. It also represents three modes of knowledge of Reality, viz. non-dual (abheda), nondual-cum-dual (bhedabheda), and dual (bheda). The Trika School also argued that reality is represented by three categories : transcendental (para), material (apara), and a combination of these two (para_apara) . This three-fold division is again reflected in the principles of Shiva, Shakti, anu or pashu. The Trika is also known as Svatantrya vada, Svatantrya and Spanda expressing the same concepts.
The purpose of Trika is to show how an individual rises to the state of universal consciousness through Shakthi. Shiva represents pure consciousness, Shakti its energy, and anu the material world. Pashu is the individual who acts according to his conditioning, almost like an animal; pashas are the bonds that tie him to his behavior; and pathi or pashupathi (Lord of the Flock) is Shiva personified whose knowledge liberates the pashu and makes it possible for him to reach his potential.
Abhinavagupta classified Trika philosophy into four systems : Krama system, Spanda system, Kula system and Pratyabhijna system.
The mind is viewed as a hierarchical (krama) collection of agents (kula) that perceives its true self spontaneously (pratyabhijna) with a creative power that is vibrating or pulsating (spanda)
Explaining the Spanda system, Abhinavagupta says whatever that appears to be moving is actually established in the unmoved point. Although everything seems to be moving , actually, they are not moving at all.
As for the Kula system, he says that Kula means the science of totality. In each and every part of the universe totality shines . Take an infinitesimally small object, in that you will find the universal energy. A macrocosm resides in microcosm .
The fourth, the Pratyabijnya system deals with the school of recognition. The Pratyabhijnya School, initiated by Sri Somananda; and developed by Utpaladeva, reached its culmination in Abhinavagupta. This School conceived Shiva (the manifestation of ultimate reality), the individual soul, and the universe as essentially one; Pratyabhijna refers to the way of realizing this identity.
Abhinavagupta, while explaining this school of recognition, says, man is not a mere speck of dust; but, is an immense force, comprising a comprehensive consciousness and capable of manifesting through his mind and body limitless powers of knowledge and action (Jnana Shakti and Kriya Shakti). The state of Shiva-consciousness is already there, you have to realize that and nothing else.
His non-dual philosophy, in essence, is similar to the one expounded by Sri Shankara. He considers the universe completely real, filled with infinite diversity and not different from Shiva , the supreme consciousness. He expands on this concept and shows that the various levels of creation, from the subtlest to the grossest, are all the same and Shiva.
He conceived Shiva, the I or Consciousness (Aham) , as an expression of the supreme freedom This concept of freedom (Svatrantya) is one of the principal achievements of Kashmiri Shaivism .
Abhinavagupta explains that Shiva brings about the manifestation of the world by the means of His svatantrya –shakthi or absolute autonomy by which he effects all changes without undergoing any change in Himself. The world is abhasa, pratibimba projected or reflected in the mirror of cosmic consciousness. Abhinavagupta illustrates this position with the aid of analogy of the reflection in a mirror : just as earth, water etc. are reflected in a clean mirror without being contaminated, so also the entire world of objects appears together in the one Lord consciousness- nirmale mukure yadvadbhanti bhumi-jala- dayah.. visvavrttayah.
Abhinavagupta asserts that Shiva, the Ultimate Reality, manifests himself as the world – asthasyadekarupena vapusa canmahesvara! Ghatadivat. He says; in reality, the jiva, the individual soul, is none other than the Lord Shiva Himself, having taken up the form of the bounded being – Shiva eva grhita pasu bhavah. The whole of this existence, according to Abhinavagupta, is indeed the manifestation of that Absolute Reality Shiva – Bharupam..paratattvam tasmin vibhati sat trimsad-atma jagat
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But, the basic difference between the Sri Shankara and Abhinavagupta is that the philosophy of Abhinavagupta is theistic absolutism. It is similar to Vishitadvaita. Abhinavagupta accepts the monistic and absolute pure consciousness as the only eternal reality; but, at the same time establishes Shakthi as the very essential nature of such monistic Reality. Hence, the aspect of the pure and perfect I-consciousness is His static aspect in which He is known as Shiva; and, the aspect of His phenomenal manifestation through the five divine activities is His dynamic aspect in which He is known as Shakthi. Thus, Shiva is the basic eternal Reality and Shakthi is the divine nature of such Absolute Reality. Shiva and Shakthi are also said to be identical; the difference being just in name– ittham nanavidhaih rupaih! kridaya prasruto nityameka-eva sivah prabhuh.
Abhinavagupta was a mystic and a Sadhaka par excellence. According to him; one’s body is indeed a worthy place of worship. All the devatas , vidyas, cakras, trisulas, mandalas etc. are present in the body.
Beyond this there is no other Dhama , a place, which is more suitable for true worship – deha-eva-param-lingam sarvata tat-vatmakam shivam.. Atraiva devata cakram bahirantah sada yajet .
Abhinavagupta advises that a serious seeker should obtain proper initiation , Diksha , from a worthy Guru, who has the immense power of grace. The Sadhaka through relentless practice of Mantra, Japa and Bhavana (contemplation), should strive to attain true realization – tat svarupam japah prokto Bhava –bhavapada-cyutah.
He categorized such means of achievement (Upaya) into: Anavopaya; Saktopaya and Sambhavopaya.. These Upayas are hierarchical; and, are meant for different levels of Sadhakas.
Abhinavagupta asserts that Moksha is nothing else but the awareness of one’s true nature – Moksha hi nama naivanyah sva-rupa-prathanam hi sah . He assures, an aspirant who meditates on that Great Brahman, will truly realize Shiva in his heart.
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Kashmir Shaivism, reached its culmination in the philosophy of Abhinavagupta and Kshemaraja (10th century) ; and, in the theory of Recognition , Shaivite philosophy found its full flowering .
Together with Somananda’s disciple Utpaladeva, Abhinavagupta is the most important representative of the School . Many believe Shiva himself appeared in Kashmir in the form of Abhinavagupta to enlighten the people. In any case , Abhinavagupta is a precious jewel of our heritage . His works and teachings continue to influence our thoughts.
Abhinavagupta talks about Shadanga_yoga, a system of yoga comprised of six aspects. According to him, prana (life force) and manas (mind) are interdependent. The Yoga consists in harnessing these two together. The disciplines of yama, niyama and aasana prescribed by Patanjali are meant for conditioning the body; they are the indirect methods.
Whereas, the methods that help directly are dhyana (meditation), dharana (contemplation), tarka (reasoning) and Samadhi (absolute identity with the ideal). Contemplating on the identity of self and the Shiva is essential; and it can be achieved through divine grace. It leads to emancipation and freedom from ignorance; and roots out the sense of duality. This he called it Pratyabhijnathe new method (margo navaha).
References:
http://www.koausa.org/Shaivism/index.html
http://www.koausa.org/Saints/Abhinavagupta/article3.html
http://www.thenewyoga.org/guru_abhinavagupta.htm
http://en.wikipedia.org/wiki/Abhinavagupta
https://www.academia.edu/24993006/Abhinavagupta?email_work_card=interaction_paper
https://www.academia.edu/24993006/Abhinavagupta?email_work_card=view-paper
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