Abhinavagupta

Abhinavagupta (Sanskrit: अभिनवगुप्त) (c. 950 – 1020 chestrated the philosophical knowledge into a more co-
AD[1][2] ) was one of India's greatest philosophers, mystics herent form,[20] assessing all the available sources of
and aestheticians.[3] He was also considered an impor- his time, not unlike a modern scientific researcher of
tant musician, poet, dramatist, exegete, theologian, and Indology.
logician[4][5] – a polymathic personality who exercised
Various contemporary scholars have characterised Abhi-
strong influences on Indian culture.[6][7] Abhinavagupta navagupta as a “brilliant scholar and saint”,[21] “the pin-
was strongly influenced by Buddhist logic.[8] nacle of the development of Kasmir Śaivism”[21] and “in
He was born in the Valley of Kashmir in a family of possession of yogic realization”.[12]
[9]

scholars and mystics and studied all the schools of philos-

ophy and art of his time under the guidance of as many as
fifteen (or more) teachers and gurus.[10] In his long life he 2 Social background, family and
completed over 35 works, the largest and most famous of
which is Tantrāloka, an encyclopaedic treatise on all the disciples
philosophical and practical aspects of Trika and Kaula
(known today as Kashmir Shaivism). Another one of his 2.1 “Magical” birth
very important contributions was in the field of philoso-
phy of aesthetics with his famous Abhinavabhāratī com- The term by which Abhinavagupta himself defines his
mentary of Nāṭyaśāstra of Bharata Muni.[11] origin is “yoginībhū", 'born of a yoginī'.[12][22] In Kash-
mir Shaivism and especially in Kaula it is considered that
a progeny of parents “established in the divine essence of
1 Life Bhairava",[23] 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
“Abhinavagupta” was not his real name, rather a title he womb, has the form of Shiva",[15] to enumerate but a few
earned from his master, carrying a meaning of “com- of the classical attributes of his kind.
petence and authoritativeness”.[12][13] In his analysis, Ja-
yaratha (1150–1200 AD)[14] – who was Abhinavagupta’s
most important commentator – also reveals three more 2.2 Parents
meanings: “being ever vigilant”, “being present every-
where” and “protected by praises”.[15] Raniero Gnoli, His mother, Vimalā (Vimalakalā) died when Abhinav-
the only Sanskrit scholar who completed a translation of agupta was just two years old;[24][25] as a consequence
Tantrāloka in a European language, mentions that “Abhi- of losing his mother, of whom he was reportedly very
nava” also means “new”,[16] as a reference to the ever-new attached,[17] he grew more distant from the world and all
creative force of his mystical experience. the more focused only on the spiritual endeavour.
From Jayaratha, we learn that Abhinavagupta was in pos- The father, Narasiṃha Gupta, after his wife’s death
session of all the six qualities required for the recipients favoured an ascetic lifestyle, while raising his three chil-
of the tremendous level of śaktipāta, as described in the dren. He had a cultivated mind and a heart “outstand-
sacred texts (Śrīpūrvaśāstra):[17] an unflinching faith in ingly adorned with devotion to Mahesvara (Shiva)"[24]
God, realisation of mantras, control over objective prin- (in Abhinavagupta’s own words). He was Abhinav-
ciples (referring to the 36 tattvas), successful conclusion agupta’s first teacher, instructing him in grammar, logic
of all the activities undertaken, poetic creativity and spon- and literature.[26]
taneous knowledge of all disciplines.[18]
Abhinavagupta’s creation is well equilibrated between the
2.3 Family
branches of the triad (Trika): will (icchā), knowledge
(jñāna), action (kriyā); his works also include devotional Abhinavagupta had a brother and a sister. The brother,
songs, academical/philosophical works[12] and works de- Manoratha, was a well versed devotee of Shiva.[27] His
scribing ritual/yogic practices.[19] sister, Ambā (probable name, according to Navjivan Ras-
As an author he is considered a systematiser of the philo- torgi), devoted herself to worship after the death of her
sophical thought. He reconstructed, rationalised and or- husband in late life.

1
2 4 LIFESTYLE

His cousin Karṇa demonstrated even from his youth that hinavagupta and taught him all the schools of monis-
he grasped the essence of Śaivism and was detached of tic thought : Krama, Trika and Pratyabhijña (except
the world. His wife was presumably Abhinavagupta’s Kula).[36]
older sister Ambā,[28] who looked with reverence upon Śambhunātha taught him the fourth school (Ardha-
her illustrious brother. Ambā and Karṇa had a son, Yo- trayambaka). This school is in fact Kaula, and it was em-
geśvaridatta, who was precociously talented in yoga[29] anated from Trayambaka's daughter.
(yogeśvar implies the meaning of “lord of yoga”).
For Abhinavagupta, Śambhunātha was the most admired
Abhinavagupta also mentions his disciple Rāmadeva as guru. Describing the greatness of his master, he com-
faithfully devoted to scriptural study and serving his pared Śambhunātha with the Sun, in his power to dispel
master.[28] Another cousin was Kṣema, possibly the same ignorance from the heart, and, in another place, with “the
as Abhinavagupta’s illustrious disciple Kṣemarāja. Man- Moon shining over the ocean of Trika knowledge”.[38]
dra, a childhood friend of Karṇa, was their host in a sub-
urban residence; he was not only rich and in possession Abhinavagupta received Kaula initiation through Śamb-
of a pleasing personality, but also equally learned.[30] And hunātha's wife (acting as a dūtī or conduit). The energy
last but not least, Vatasikā, Mandra's aunt, got a special of this initiation is transmitted and sublimated into the
mention from Abhinavagupta for caring for him with ex- heart and finally into consciousness. Such a method is
ceptional dedication and concern; to express his grati- difficult but very rapid and is reserved for those who shed
tude, Abhinavagupta declared that Vatasikā deserved the their mental limitations and are pure.
credit for the successful completion of his work.[31] It was Śambhunātha who requested of him to write
The emerging picture here is that Abhinavagupta lived Tantrāloka. As guru, he had a profound influence in the
in a nurturing and protected environment, where his cre- structure of Tantrāloka[39] and in the life of its creator,
ative energies got all the support they required. Everyone Abhinavagupta.[40]
around him was filled with spiritual fervor and had taken As many as twelve more of his principal teachers are enu-
Abhinavagupta as their spiritual master. Such a support- merated by name but without details.[41] It is believed
ing group of family and friends was equally necessary as that Abhinavagupta had more secondary teachers. Even
his personal qualities of genius, to complete a work of the more, during his life he had accumulated a large number
magnitude of Tantrāloka. of texts from which he quoted in his magnum opus, in his
desire to create a synthetic, all inclusive system, where
the differences of different scriptures be resolved by in-
2.4 Ancestors tegration into a superior perspective.

By Abhinavagupta’s own account, his most remote known

ancestor was called Atrigupta, born in Madhyadeśa
{Manusmirti (circa 1500 BC, 2/21) defines Madhyadesh 4 Lifestyle
region as vast plains between Himalaya and Vindhya
mountains and to the east of the river Vinasana (in- Abhinavagupta remained unmarried all his life,[42] we do
visible Saraswati) and to the west of Praya}, in India however know him to be an adept of Kaula and as such,
and travelled to Kashmir at the request of the king used his energy (ojas) as a vital force, a constant source
Lalitāditya,[32][33] around year 740 CE .[34] of shakti to power the spiritual nervous system he out-
lined in his works. This system involves ritual union be-
tween Purusha as (Shiva) and shakti, yet this union is es-
3 Masters sentially non-physical and universal, and thus for a mas-
ter such as Abhinavagupta, he was always in communion
with Shiva-Shakti. We can only speculate about whether
Abhinavagupta is famous for his voracious thirst of
knowledge. To study he took many teachers (as many he was physically chaste, and either answer to this ques-
tion is not very meaningful in the context of his life and
as 15, or even more!),[35] both mystical philosophers
and scholars. He approached Vaiṣṇavas, Buddhists, teachings. Abhinavagupta parallels Shiva as both ascetic
and enjoyer.
Śiddhānta Śaivists and the Trika scholars.
Amongst the most prominent of his teachers he enu- He studied assiduously at least until the age of 30 or
merates four. Vāmanātha instructed him in dualis- 35,[34] and to do that he travelled, but mostly inside
tic Śaivism,[36] Bhūtirāja in the dualist-cum-nondualistic Kashmir.[43]
school. Besides being the teacher of the famous Abhi- By his own testimony, he had attained spiritual libera-
navagupta, Bhūtirāja was also the father of two eminent tion through his Kaula practice, under the guidance of
scholars.[37] his most admired master, Śambhunātha.[40]
Lakṣmasṇagupta, a direct disciple of Somānanda, in the He lived in his home (functioning as an ashram) with his
lineage of Trayambaka, was highly respected by Ab- family members and disciples[44] and he did not become
5.2 Devotional hymns 3

a wandering monk, nor did he take on the regular duties His most important work was Tantrālok, “Lok or Look,
of the brahmin caste. here, transliterates into “To throw) Light on Tantr”, a
[12]
Thus, Abhinavagupta lived out his life as a writer and a synthesis of all the Trika system. Its only complete
[38]
teacher. His personality was a living realisation of his translation in a European language – Italian – is credited
[46]
vision.[4] to Raniero Gnoli, now at its second edition. The es-
oteric chapter 29 on the Kaula ritual was translated in
In an epoch pen-painting he is depicted seated in Vi- English together with Jayaratha's commentary by John
rasana, surrounded by devoted disciples and family, per- R. Dupuche, Rev. Dr.[15] A complex study on the con-
forming a kind of trance inducing music at veena while text, authors, contents and references of Tantrāloka was
dictating verses of Tantrāloka to one of his attendees – published by Navjivan Rastogi, Prof. of the Lucknow
behind him two dūtī (women yogi) waiting on him. University.[47]
A legend about the moment of his death (placed some- Another important text was the commentary on
where between 1015 and 1025 depending on the source), Parātrīśikā, Parātrīśikāvivaraṇa, detailing the significa-
says that he took with him 1200 disciples and marched tion of the phonematic energies and their two sequential
off to a cave (the Bhairava Cave, an actual place known ordering systems, Mātṛkā and Mālinī, was the last great
to this day), reciting his poem Bhairava-stava, a devo- translation project of Jaideva Singh.[48]
tional work. They were never to be seen again, suppos-
edly translating together in the spiritual world.[45]
5.1.2 Tantrasara

Main article: Tantrasara

5 Works
Tantrasāra (“Essence of Tantra”) is a summarised ver-
sion, in prose, of Tantrāloka, which was once more sum-
marised in Tantroccaya, and finally presented in a very
short summary form under the name of Tantravaṭad-
hānikā – 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. Kra-
makeli, “Krama’s Play” was a commentary of Kramasto-
tra, now lost. Bhagavadgītārtha-saṃgraha which trans-
lates “Commentary on Bhagavad Gita" has now an En-
glish translation by Boris Marjanovic.[49]
Other religious works are: Parātrīśikā-laghuvṛtti, “A
Short Commentary on Parātrīśikā", Paryantapañcāśīkā
(“Fifty Verses on the Ultimate Reality”), Rahasya-
pañcadaśikā (“Fifteen Verses on the Mystical Doc-
trine”), Laghvī prakriyā (“Short Ceremony”), Devīsto-
travivaraṇa (“Commentary on the Hymn to Devi”) and
The trident (triśūlābija maṇḍalam), symbol and yantra of
Parama Shiva, representing the triadic energies of parā, parā-
Paramārthasāra (“Essence of the Supreme Reality”).
aparā and aparā śakti
5.2 Devotional hymns
Abhinavagupta’s works fall into multiple sections: man-
uals of religious ritual, devotional songs, philosophical Abhinavagupta has composed a number of devotional po-
works and philosophy of aesthetics. Here are enumerated ems, most of which have been translated into French by
most of his works.[11] Bold type faced titles represent the Lilian Silburn:[50]
most important ones.
• Bodhapañcadaśikā – “Fifteen Verses on Conscious-
ness";
5.1 Religious works
• Paramārthacarcā – “Discussion on the Supreme Re-
5.1.1 Tantraloka ality";

Main article: Tantraloka • Anubhavanivedana – “Tribute of the Inner Experi-

ence";
4 6 REFERENCES

• Anuttarāṣṭikā – “Eight Verses on Anuttara"; 6 References

• Krama-stotra – an hymn, different from the funda- [1] Triadic Heart of Shiva, Paul E. Muller-Ortega, page 12
mental text of the Krama school;
[2] Introduction to the Tantrāloka, Navjivan Rastogi, page 27
• Bhairava-stava – “Hymn to Bhairava"; [3] “Abhinavagupta – the Philosopher”.

• Dehasthadevatācakra-stotra – “Hymn to the Wheel [4] Re-accessing Abhinavagupta, Navjivan Rastogi, page 4
of Divinities that Live in the Body"; [5] Key to the Vedas, Nathalia Mikhailova, page 169

• Paramārthadvādaśikā – “Twelve Verses on the [6] The Pratyabhijñā Philosophy, Ganesh Vasudeo Tagare,
Supreme Reality” and page 12

[7] Companion to Tantra, S.C. Banerji, page 89

• Mahopadeśa-viṃśatikā – “Twenty Verses on the
Great Teaching”. [8] 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
• Another poem Śivaśaktyavinābhāva-stotra – “Hymn
strongly influenced by Buddhist logic.”
on the Inseparability of Shiva and Shakti" was lost.
[9] Doctrine of Divine Recognition, K. C. Pandey, page V

5.3 Philosophical works [10] Introduction to the Tantrāloka, Navjivan Rastogi, page 35

[11] Luce dei Tantra, Tantrāloka, Abhinavagupta, Raniero

One of the most important works of Anhinavagupta Gnoli, page LXXVII
is Īśvarapratyabhijñā-vimarśini (“Commentary to
the Verses on the Recognition of the Lord”) and [12] Introduction to the Tantrāloka, Navjivan Rastogi, page 20
Īśvarapratyabhijñā-vivṛti-vimarśini (“Commentary on
[13] The Krama Tantricism of Kashmir; Navjivan Rastogi,
the explanation of Īśvarapratyabhijñā"). This treatise page 157
is fundamental in the transmission of the Pratyabhijña
school (the branch of Kashmir Shaivism based on direct [14] Introduction to the Tantrāloka, Navjivan Rastogi, page 92
recognition of the Lord) to our days. Another commen-
[15] The Kula Ritual, As Elaborated in Chapter 29 of the
tary on a Pratyabhijña work – Śivadṛṣtyā-locana (“Light
Tantrāloka, Abhinavagupta; John R. Dupuche, page 4
on Śivadṛṣṭi”) – is now lost. Another lost commentary
is Padārthapraveśa-nirṇaya-ṭīkā and Prakīrṇkavivaraṇa [16] Luce dei Tantra, Tantrāloka, Abhinavagupta, Raniero
(“Comment on the Notebook”) referring to the third Gnoli, 1999, page 3
chapter of Vākyapadīya of Bhartrihari. Two more
[17] Abhinavagupta, Ganesh Tryambak Deshpande, page 19
philosophical texts of Abhinavagupta are Kathāmukha-
tilaka(“Ornament of the Face of Discourses”) and [18] Introduction to the Tantrāloka, Navjivan Rastogi, page 21
Bhedavāda-vidāraṇa (“Confrontation of the Dualist
[19] Re-accessing Abhinavagupta, Navjivan Rastogi, page 8
Thesis”).
[20] Re-accessing Abhinavagupta, Navjivan Rastogi, page 10

5.4 Poetical and dramatic works [21] Īśvara Pratyabhijñā Kārikā of Utpaladeva, Verses on the
Recognition of the Lord; B. N. Pandit, page XXXIII
Main article: Abhinavabharati
[22] Luce dei Tantra, Tantrāloka, Abhinavagupta, Raniero
Gnoli, page 3
Abhinavagupta's most important work on the philosophy
[23] Re-accessing Abhinavagupta, Navjivan Rastogi, page 2
of art is Abhinavabhāratī – a long and complex commen-
tary on Natya Shastra of Bharata Muni. This work has [24] Luce dei Tantra, Tantrāloka, Abhinavagupta, Raniero
been one of the most important factors contributing to Gnoli, page 4
Abhinavagupta’s fame up until present day. His most im-
[25] Introduction to the Tantrāloka, Navjivan Rastogi, page 31
portant contribution was that to the theory of rasa (aes-
thetic savour). [26] Introduction to the Tantrāloka, Navjivan Rastogi, page 30
Other poetical works include: Ghaṭa-karpara-kulaka- [27] Introduction to the Tantrāloka, Navjivan Rastogi, page 22
vivṛti, a commentary on “Ghaṭakarpara” of Kalidasa;
Kāvyakauṭukavivaraṇa, a “Commentary to the Won- [28] Introduction to the Tantrāloka, Navjivan Rastogi, page 24
der of Poetry” (a work of Bhaṭṭa Tauta), now lost;
[29] Introduction to the Tantrāloka, Navjivan Rastogi, page 23
and Dhvanyālokalocana, “Illustration of Dhvanyāloka”,
which is a famous work of Anandavardhana. [30] Introduction to the Tantrāloka, Navjivan Rastogi, page 25
5

[31] Introduction to the Tantrāloka, Navjivan Rastogi, page 26

[32] Introduction to the Tantrāloka, Navjivan Rastogi, page 28
[33] The Kula Ritual, As Elaborated in Chapter 29 of the
Tantrāloka, Abhinavagupta; John R. Dupuche, page 3
[34] Triadic Mysticism, Paul E. Murphy, page 12
[35] Introduction to the Tantrāloka, Navjivan Rastogi, page 33
[36] Introduction to the Tantrāloka, Navjivan Rastogi, page 54
[37] Introduction to the Tantrāloka, Navjivan Rastogi, page 34
[38] The Kula Ritual, As Elaborated in Chapter 29 of the
Tantrāloka, Abhinavagupta; John R. Dupuche, page 7
[39] The Triadic Heart of Śiva, Kaula Tantricism of Abhinav-
agupta in the Non-Dual Shaivism of Kashmir; Paul Ed-
uardo Muller-Ortega, page 1
[40] Introduction to the Tantrāloka, Navjivan Rastogi, page
44-54
[41] Introduction to the Tantrāloka, Navjivan Rastogi, page
35,54
[42] Introduction to the Tantrāloka, Navjivan Rastogi, page 32
[43] The Kula Ritual, As Elaborated in Chapter 29 of the
Tantrāloka, Abhinavagupta; John R. Dupuche, page 6
[44] Īśvara Pratyabhijñā Kārikā of Utpaladeva, Verses on the
Recognition of the Lord; B. N. Pandit, page XXXIV
[45] Triadic Mysticism, Paul E. Murphy, page 13
[46] Luce dei Tantra, Tantrāloka, Abhinavagupta, Raniero
Gnoli, 1999
[47] Introduction to the Tantrāloka, Navjivan Rastogi
[48] Para-trisika-Vivarana, Jaideva Singh
[49] Abhinavagupta’s Commentary on the Bhagavad Gita,
Boris Marjanovic
[50] Hymnes de Abhinavagupta: Traduits et commentés, Lil-
ian Silburn

7 External links
• 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. K. N. Dhar, R. K.
Jalali and Geetika Kaw Kher
• Another Bibliography of Abhinavagupta by “The
New Yoga”
• Aspects of Abhinavagupta’s Theory of Scripture by
David Peter Lawrence
6 8 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

8 Text and image sources, contributors, and licenses

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