_Non - Saiddhantika_
* v * t * e
ABHINAVAGUPTA (c. 950 – 1016 AD ) was a philosopher , mystic and aesthetician from Kashmir . He was also considered an influential musician , poet , dramatist , exegete , theologian, and logician – a polymathic personality who exercised strong influences on Indian culture .
He was born in Kashmir in a family of scholars and mystics and studied all the schools of philosophy and art of his time under the guidance of as many as fifteen (or more) teachers and gurus . In his long life he completed over 35 works, the largest and most famous of which is _ Tantrāloka _, an encyclopaedic treatise on all the philosophical and practical aspects of Trika and Kaula (known today as Kashmir Shaivism ). Another one of his very important contributions was in the field of philosophy of aesthetics with his famous _Abhinavabhāratī _ commentary of _Nāṭyaśāstra _ of Bharata Muni .
Abhinavagupta's thought was strongly influenced by Buddhist logic.
* 1 Life
* 2 Social background, family and disciples
* 2.1 "Magical" birth * 2.2 Parents * 2.3 Family * 2.4 Ancestors
* 3 Masters * 4 Lifestyle
* 5 Works
* 5.1 Religious works
* 5.2 Devotional hymns * 5.3 Philosophical works * 5.4 Poetical and dramatic works
* 6 References * 7 External links
"Abhinavagupta" was not his real name, rather a title he earned from his master, carrying a meaning of "competence and authoritativeness". In his analysis, Jayaratha (1150–1200 AD) – who was Abhinavagupta's most important commentator – also reveals three more meanings: "being ever vigilant", "being present everywhere" and "protected by praises". Raniero Gnoli, the only Sanskrit scholar who completed a translation of Tantrāloka in a European language, mentions that "Abhinava" also means "new", as a reference to the ever-new creative force of his mystical experience.
From Jayaratha, we learn that Abhinavagupta was in possession of all the six qualities required for the recipients of the tremendous level of śaktipāta , as described in the sacred texts (Śrīpūrvaśāstra): an unflinching faith in God, realisation of mantras , control over objective principles (referring to the 36 tattvas ), successful conclusion of all the activities undertaken, poetic creativity and spontaneous knowledge of all disciplines.
Abhinavagupta's creation is well equilibrated between the branches of the triad ( Trika ): will (_icchā_), knowledge (_jñāna _), action (_kriyā _); his works also include devotional songs, academical/philosophical works and works describing ritual/yogic practices.
As an author he is considered a systematiser of the philosophical thought. He reconstructed, rationalised and orchestrated the philosophical knowledge into a more coherent form, assessing all the available sources of his time, not unlike a modern scientific researcher of Indology .
Various contemporary scholars have characterised Abhinavagupta as a "brilliant scholar and saint", "the pinnacle of the development of Kasmir Śaivism" and "in possession of yogic realization".
SOCIAL BACKGROUND, FAMILY AND DISCIPLES
The term by which Abhinavagupta himself defines his origin is "yoginībhū", 'born of a yoginī '. In Kashmir Shaivism and especially in Kaula it is considered that a progeny of parents "established in the divine essence of Bhairava ", is endowed with exceptional spiritual and intellectual prowess. Such a child is supposed to be "the depository of knowledge", who "even as a child in the womb, has the form of Shiva ", to enumerate but a few of the classical attributes of his kind.
His mother, _Vimalā_ (_Vimalakalā_) died when Abhinavagupta was just two years old; as a consequence of losing his mother, of whom he was reportedly very attached, he grew more distant from worldly life and focused all the more on spiritual endeavour.
The father, _Narasiṃha Gupta_, after his wife's death favoured an ascetic lifestyle, while raising his three children. He had a cultivated mind and a heart "outstandingly adorned with devotion to Mahesvara (Shiva)" (in Abhinavagupta's own words). He was Abhinavagupta's first teacher, instructing him in grammar , logic and literature .
Abhinavagupta had a brother and a sister. The brother, _Manoratha_, was a well versed devotee of Shiva. His sister, _Ambā_ (probable name, according to Navjivan Rastogi), devoted herself to worship after the death of her husband in late life.
His cousin _Karṇa_ demonstrated even from his youth that he grasped the essence of Śaivism and was detached of the world. His wife was presumably Abhinavagupta's older sister _Ambā_, who looked with reverence upon her illustrious brother. _Ambā_ and _Karṇa_ had a son, _Yogeśvaridatta_, who was precociously talented in yoga (_yogeśvar_ implies "lord of yoga").
Abhinavagupta also mentions his disciple _Rāmadeva_ as faithfully devoted to scriptural study and serving his master. Another cousin was _Kṣema_, possibly the same as Abhinavagupta's illustrious disciple _Kṣemarāja_. _Mandra_, a childhood friend of _Karṇa_, was their host in a suburban residence; he was not only rich and in possession of a pleasing personality, but also equally learned. And last but not least, _Vatasikā_, _Mandra'_s aunt, who got a special mention from Abhinavagupta for caring for him with exceptional dedication and concern; to express his gratitude, Abhinavagupta declared that _Vatasikā_ deserved the credit for the successful completion of his work.
The emerging picture here is that Abhinavagupta lived in a nurturing and protected environment, where his creative energies got all the support they required. Everyone around him was filled with spiritual fervor and had taken Abhinavagupta as their spiritual master. Such a supporting group of family and friends was equally necessary as his personal qualities of genius, to complete a work of the magnitude of Tantrāloka .
By Abhinavagupta's own account, his most remote known ancestor was called _Atrigupta_, born in _Madhyadeśa_: . Born in Madhyadeśa he travelled to Kashmir at the request of the king Lalitāditya , around year 740 CE .
Abhinavagupta is famous for his voracious thirst of knowledge. To study he took many teachers (as many as 15, or even more!), both mystical philosophers and scholars. He approached Vaiṣṇavas , Buddhists , Śiddhānta Śaivists and the Trika scholars.
Among the most prominent of his teachers he enumerates four. _Vāmanātha_ who instructed him in dualistic _Śaivism_ and _Bhūtirāja_ in the dualist/nondualist school. Besides being the teacher of the famous Abhinavagupta, _Bhūtirāja_ was also the father of two eminent scholars.
_Lakṣmaṇagupta_, a direct disciple of Utpaladeva , in the lineage of _Trayambaka_, was highly respected by Abhinavagupta and taught him all the schools of monistic thought : _Krama_, Trika and _Pratyabhijña_ (except Kula ).
_Śambhunātha_ taught him the fourth school (_Ardha-trayambaka_). This school is in fact Kaula, and it was emanated from _Trayambaka'_s daughter.
For Abhinavagupta, _Śambhunātha_ was the most admired guru. Describing the greatness of his master, he compared _Śambhunātha_ with the Sun, in his power to dispel ignorance from the heart, and, in another place, with "the Moon shining over the ocean of _Trika_ knowledge".
Abhinavagupta received Kaula initiation through _Śambhunātha'_s wife (acting as a _dūtī_ or conduit ). The energy of this initiation is transmitted and sublimated into the heart and finally into consciousness. Such a method is difficult but very rapid and is reserved for those who shed their mental limitations and are pure.
As many as twelve more of his principal teachers are enumerated by name but without details. It is believed that Abhinavagupta had more secondary teachers. Moreover, during his life he had accumulated a large number of texts from which he quoted in his magnum opus, in his desire to create a synthetic, all inclusive system, where the contrasts of different scriptures could be resolved by integration into a superior perspective.
Abhinavagupta remained unmarried all his life, we do however know him to be an adept of Kaula and as such, used his energy (_ojas_, or internally sublimated semen) as a vital force, a constant source of shakti to power the spiritual nervous system he outlined in his works. This system involves ritual union between Purusha as (Shiva) and shakti, yet this union is essentially non-physical and universal, and thus for a master such as Abhinavagupta, he was always in communion with Shiva-Shakti. We can only speculate about whether he was physically chaste, and either answer to this question is not very meaningful in the context of his life and teachings. Abhinavagupta parallels Shiva as both ascetic and enjoyer.
He studied assiduously at least until the age of 30 or 35, and to do that he travelled, but mostly inside Kashmir.
By his own testimony, he had attained spiritual liberation through his _Kaula_ practice, under the guidance of his most admired master, _Śambhunātha_.
He lived in his home (functioning as an ashram ) with his family members and disciples and he did not become a wandering monk, nor did he take on the regular duties of his family.
Thus, Abhinavagupta lived out his life as a writer and a teacher. His personality was a living realisation of his vision.
In an epoch pen-painting he is depicted seated in _Virasana_, surrounded by devoted disciples and family, performing a kind of trance inducing music at veena while dictating verses of Tantrāloka to one of his attendees – behind him two _dūtī_ (women yogi ) waiting on him.
A legend about the moment of his death (placed somewhere between 1015 and 1025 depending on the source), says that he took with him 1200 disciples and marched off to a cave (the Bhairava Cave, an actual place known to this day), reciting his poem _Bhairava-stava_, a devotional work. They were never to be seen again, supposedly translating together in the spiritual world.
_ The trident (triśūlābija maṇḍalam_), symbol and yantra of Parama Shiva, representing the triadic energies of _parā_, _parā-aparā_ and _aparā śakti_
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Abhinavagupta's works fall into multiple sections: manuals of religious ritual, devotional songs, philosophical works and philosophy of aesthetics. Here are enumerated most of his works. Bold type faced titles represent the most important ones.
Main article: Tantraloka
His most important work was _Tantrāloka_,(translates into "To Throw Light on Tantra"), a synthesis of all the Trika system. Its only complete translation in a European language – Italian – is credited to Raniero Gnoli , now at its second edition. The esoteric chapter 29 on the Kaula ritual was translated in English together with _Jayaratha'_s commentary by John R. Dupuche, Rev. Dr. A complex study on the context, authors, contents and references of _Tantrāloka_ was published by Navjivan Rastogi, Prof. of the Lucknow University. Though there are no English translations of _Tantrāloka_ to date, the last recognized master of the oral tradition of Kashmir Shaivism, Swami Lakshman Joo , gave a condensed version of the important philosophical chapters of ‘‘Tantrāloka’‘ in his book, _ Kashmir Shaivism – The Secret Supreme_.
Another important text was the commentary on Parātrīśikā, _Parātrīśikāvivaraṇa_, detailing the signification of the phonematic energies and their two sequential ordering systems, Mātṛkā and Mālinī. This was the last great translation project of Jaideva Singh .
Main article: Tantrasara
Tantrasāra ("Essence of Tantra") is a summarised version, in prose, of _Tantrāloka_, which was once more summarised in _Tantroccaya_, and finally presented in a very short summary form under the name of _Tantravaṭadhānikā_ – the "Seed of Tantra".
_Pūrvapañcikā_ was a commentary of _Pūrvatantra_, alias Mālinīvijaya Tantra, lost to this day. _Mālinīvijayā-varttika_ ("Commentary on Mālinīvijaya") is a versified commentary on _Mālinīvijaya Tantra'_s first verse. _Kramakeli_, "Krama's Play" was a commentary of _Kramastotra_, now lost. _Bhagavadgītārtha-saṃgraha_ which translates "Commentary on Bhagavad Gita " has now an English translation by Boris Marjanovic.
Other religious works are: _Parātrīśikā-laghuvṛtti_, "A Short Commentary on Parātrīśikā", _Paryantapañcāśīkā_ ("Fifty Verses on the Ultimate Reality"), _Rahasyapañcadaśikā_ ("Fifteen Verses on the Mystical Doctrine"), _Laghvī prakriyā_ ("Short Ceremony"), _Devīstotravivaraṇa_ ("Commentary on the Hymn to Devi") and _Paramārthasāra_ ("Essence of the Supreme Reality").
* _Bodhapañcadaśikā_ – "Fifteen Verses on Consciousness"; * _Paramārthacarcā_ – "Discussion on the Supreme Reality"; * _Anubhavanivedana_ – "Tribute of the Inner Experience"; * _Anuttarāṣṭikā_ – "Eight Verses on Anuttara "; * _Krama-stotra_ – an hymn, different from the fundamental text of the Krama school; * _Bhairava-stava_ – "Hymn to Bhairava "; * _Dehasthadevatācakra-stotra_ – "Hymn to the Wheel of Divinities that Live in the Body"; * _Paramārthadvādaśikā_ – "Twelve Verses on the Supreme Reality" and * _Mahopadeśa-viṃśatikā_ – "Twenty Verses on the Great Teaching". * Another poem _Śivaśaktyavinābhāva-stotra_ – "Hymn on the Inseparability of Shiva and Shakti " was lost.
One of the most important works of Abhinavagupta is _Īśvarapratyabhijñā-vimarśini_ ("Commentary to the Verses on the Recognition of the Lord") and _Īśvarapratyabhijñā-vivṛti-vimarśini_ ("Commentary on the explanation of _Īśvarapratyabhijñā_"). This treatise is fundamental in the transmission of the _Pratyabhijña_ school (the branch of Kashmir Shaivism based on direct recognition of the Lord) to our days. Another commentary on a _Pratyabhijña_ work – _Śivadṛṣtyā-locana_ ("Light on Śivadṛṣṭi") – is now lost. Another lost commentary is _Padārthapraveśa-nirṇaya-ṭīkā_ and _Prakīrṇkavivaraṇa_ ("Comment on the Notebook") referring to the third chapter of _Vākyapadīya_ of Bhartrihari . Two more philosophical texts of Abhinavagupta are _Kathāmukha-tilaka_("Ornament of the Face of Discourses") and _Bhedavāda-vidāraṇa_ ("Confrontation of the Dualist Thesis").
POETICAL AND DRAMATIC WORKS
Main article: Abhinavabharati
_Abhinavagupta'_s most important work on the philosophy of art is _Abhinavabhāratī_ – a long and complex commentary on Natya Shastra of Bharata Muni . This work has been one of the most important factors contributing to Abhinavagupta's fame up until present day. His most important contribution was that to the theory of rasa (aesthetic savour).
Other poetical works include: _Ghaṭa-karpara-kulaka-vivṛti_, a commentary on "Ghaṭakarpara" of Kalidasa ; _Kāvyakauṭukavivaraṇa_, a "Commentary to the Wonder of Poetry" (a work of Bhaṭṭa Tauta), now lost; and _Dhvanyālokalocana_, "Illustration of Dhvanyāloka", which is a famous work of Anandavardhana .
* ^ Triadic Heart of Shiva, Paul E. Muller-Ortega, page 12 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 27 * ^ " Abhinavagupta – the Philosopher". * ^ _A_ _B_ Re-accessing Abhinavagupta, Navjivan Rastogi, page 4 * ^ Key to the Vedas, Nathalia Mikhailova, page 169 * ^ The Pratyabhijñā Philosophy, Ganesh Vasudeo Tagare, page 12 * ^ Companion to Tantra, S.C. Banerji, page 89 * ^ Doctrine of Divine Recognition, K. C. Pandey, page V * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 35 * ^ _A_ _B_ Luce dei Tantra, Tantrāloka, Abhinavagupta, Raniero Gnoli, page LXXVII * ^ Andre Padoux. _Vac: The Concept of the Word In Selected Hindu Tantras_. SUNY Press, 1990. page 180 "One knows that the thought of such authors as Abhinavagupta was strongly influenced by Buddhist logic." * ^ _A_ _B_ _C_ _D_ _E_ Introduction to the Tantrāloka, Navjivan Rastogi, page 20 * ^ The Krama Tantricism of Kashmir; Navjivan Rastogi, page 157 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 92 * ^ _A_ _B_ _C_ The Kula Ritual, As Elaborated in Chapter 29 of the Tantrāloka, Abhinavagupta; John R. Dupuche, page 4 * ^ Luce dei Tantra, Tantrāloka, Abhinavagupta, Raniero Gnoli, 1999, page 3 * ^ _A_ _B_ Abhinavagupta, Ganesh Tryambak Deshpande, page 19 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 21 * ^ Re-accessing Abhinavagupta, Navjivan Rastogi, page 8 * ^ Re-accessing Abhinavagupta, Navjivan Rastogi, page 10 * ^ _A_ _B_ Īśvara Pratyabhijñā Kārikā of Utpaladeva, Verses on the Recognition of the Lord; B. N. Pandit, page XXXIII * ^ Luce dei Tantra, Tantrāloka, Abhinavagupta, Raniero Gnoli, page 3 * ^ Re-accessing Abhinavagupta, Navjivan Rastogi, page 2 * ^ _A_ _B_ Luce dei Tantra, Tantrāloka, Abhinavagupta, Raniero Gnoli, page 4 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 31 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 30 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 22 * ^ _A_ _B_ Introduction to the Tantrāloka, Navjivan Rastogi, page 24 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 23 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 25 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 26 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 28 * ^ The Kula Ritual, As Elaborated in Chapter 29 of the Tantrāloka, Abhinavagupta; John R. Dupuche, page 3 * ^ _A_ _B_ Triadic Mysticism, Paul E. Murphy, page 12 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 33 * ^ _A_ _B_ Introduction to the Tantrāloka, Navjivan Rastogi, page 54 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 34 * ^ _A_ _B_ The Kula Ritual, As Elaborated in Chapter 29 of the Tantrāloka, Abhinavagupta; John R. Dupuche, page 7 * ^ The Triadic Heart of Śiva, Kaula Tantricism of Abhinavagupta in the Non-Dual Shaivism of Kashmir; Paul Eduardo Muller-Ortega, page 1 * ^ _A_ _B_ Introduction to the Tantrāloka, Navjivan Rastogi, page 44-54 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 35,54 * ^ Introduction to the Tantrāloka, Navjivan Rastogi, page 32 * ^ The Kula Ritual, As Elaborated in Chapter 29 of the Tantrāloka, Abhinavagupta; John R. Dupuche, page 6 * ^ Īśvara Pratyabhijñā Kārikā of Utpaladeva, Verses on the Recognition of the Lord; B. N. Pandit, page XXXIV * ^ Triadic Mysticism, Paul E. Murphy, page 13 * ^ Luce dei Tantra, Tantrāloka, Abhinavagupta, Raniero Gnoli, 1999 * ^ Introduction to the Tantrāloka, Navjivan Rastogi * ^ Kashmir Shaivism – _The Secret Supreme_, ed, John Hughes, SUNY press, 1985. * ^ Para-trisika-Vivarana, Jaideva Singh * ^ Abhinavagupta's Commentary on the Bhagavad Gita, Boris Marjanovic * ^ Hymnes de Abhinavagupta: Traduits et commentés, Lilian Silburn
* Bibliography of Abhinavagupta\'s works, Item 582, Karl Potter, University of Washington * Muktabodha Online Library – containing many of Abhinavagupta's works in Sanskrit including Tantrāloka * GRETIL: a collection of Abhinavagupta\'s works in original, also containing other Kashmir Shaivism texts * Four biographical articles on Abhinavagupta by Swami Lakshman Joo , Prof.