This paper examines the concept of manifestation process in Kashmir Shaivism from Shiva tattva to Prithvi tattva and their transcendental and immanent predicates (Prakrti and Purusa).This paper also shows that the ultimate reality, Paramshiva, manifests itself into various forms which likely represent the theory of causation. This research paper also provides answer to two questions; First, how ultimate reality with its thirty-six principles or elements manifest in various forms and what types of forms ‘Descent’ attains from the ‘universal self’? Second, (...) how manifestation process takes place from the ‘cosmic self’ (universal consciousness) to a ‘limited self’ (Jiva)? Since, this paper is based on philosophical exploration of manifestation process and contains interpretation and argumentation of Pratyabhijna philosophy only; it excludes manifestation due to Yogas (Upayas) and Karmas. Moreover, it explains the Trika form of reality (Shiva/God, Shakti/World, and Nara/Man) and also the identity between ‘ascent’ and ‘descent’. Manifestation further investigates the union of Shiva and Shakti with Maya and displays its character (Prakashvimarshmaya). This work further tries to describe the contribution of Abhinavagupta in the concept of manifestation. (shrink)

In contemporary Western analytic philosophy, the classic analogical argument explaining our knowledge of other minds has been rejected. But at least three alternative positive theories of our knowledge of the second person have been formulated: the theory-theory, the simulation theory and the theory of direct empathy. After sketching out the problems faced by these accounts of the ego’s access to the contents of the mind of a “second ego”, this paper tries to recreate one argument given by Abhinavagupta (Shaiva (...) philosopher of recognition) to the effect that even in another’s body, one must feel and recognize one’s own self, if one is able to address that embodied person as a “you”. The otherness of You does not take away from its subjectivity. In that sense, just as every second person to whom one could speak is, first, a person, she is also a first person. Even as I regret that I do not know exactly how some other person is feeling right now, I must have some general access to the subjective experience of that other person, for otherwise what is it that I feel so painfully ignorant about? My subjective world is mine only to the extent that I recognize its continuity with a sharable subjective world where other I-s can make a You out of me. (shrink)

This is what Daniel Simpson has to say of it: An entertaining polemic that takes heartfelt swipes at Western scholars, accusing them of misreading Tantra. "Hinduism is Tantric in essence," the essay says, without proving that Tantra predates other influences, or that "Yoga in its various forms, arises out of Tantra". The latter seems at odds with the earliest descriptions of austerities, or the ascetic objective of bodily transcendence (which Tantric teachings later modified, as evinced by hatha yoga texts). Meanwhile, (...) Patanjali is said to be Tantric because he describes a silent mind - despite not mentioning kundalini (as the author implies). And quoting Abhinavagupta does not mean that Vedanta is based on his framework. Yoga and experiential insight might be inseparable, but a history of ideas can still be written, however tangential it might seem to the practices it alludes to. If "that which is comprehensible is reductionist and is an exercise in structural scrutiny which is disastrous to Indology," then why compose an essay reducing Hinduism to Tantra, while dismissing all else as misguided archiving? Regardless, I enjoyed its invective. (shrink)

The musings are based upon Kashmiri Shaivist Abhinavagupta’s concept of Santa Rasa (10th Century AD) and my Advait beliefs stemmed from the Upanishads.

This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when certain ‘dominant states’ (sthayi Bhava), (...) ‘transitory states’ (vyabhicari Bhava) and ‘temperamental states’ (sattvika Bhava) of emotions come together (pgs.102, 105: Natyasastra, Ghosh, 1951). This Rasa theory, which is still widely followed in classical Indian performing arts, classifies eight Rasas or sentiments which are: Sringara (erotic), Hasya (comic), Karuna (pathetic), Raudra (furious), Vira (heroic), Bhayanaka (terrible), Bibhatsa (odious) and Adbhuta (marvellous). There was a later addition of the ninth sentiment or Rasa called Santa (peace) in later Sanskrit poetics (pg.102: Natyasastra, Ghosh, 1951). According to ancient Indian aesthetics (especially in the context of Bharatas’ ‘Natyasastra’, Anandavardhana’s ‘Dhvanyaloka’ and Abhinavagupta’s ‘Abhinavabharati’), ‘Rasa’ is the relishable state of elemental human emotions called ‘Bhavas’. Bharata’s ‘Natyasastra’ originally spoke of eight Rasas. The concept of the 9th Rasa was a later interpolation by the Kashmiri Shaivist Abhinavagupta (10th Century AD) and also his predecessor Anandavardhana (9th Century AD). Abhinavagupta extends the eight Rasas by adding the concept of the Santa Rasa which he regards as the essence of all Rasas. It is this 9th Rasa which according to Abhinavagupta lets the Rasika attain the aesthetic detachment and savour the essences of all other Rasas and therefore the true aesthetic delight. The introduction of 9th Rasa integrates the concepts of Bharata’s Rasasutra and Patanjali’s Yoga theory – the detachment necessary to introspect inwards into the inherent state of freedom and bliss (aesthetic consciousness). (shrink)

This blog post begins by showing the pejorative connotations inherent in the term 'Hindu' and goes on to lay bare the differences between Hinduism and other religions including Jainism and the Abrahamic religions. So that this necessary project of dialogues is not hijacked by celibates of various traditions; the post ends with these reflections: "The Hare Krishna movement, and all other prominent movements within the Sanatana Dharma including the various well known cults of hero-worship are all structured around centralised superstructures (...) which we acquired during our long history of colonisation. Many of these movements appeal to the Western mind because they are authoritarian with strict rules. But these rules have been negated within the Sanatana Dharma by thinkers ranging from Sri Utpaladeva to Sri Abhinavagupta to Sri Kshemraja. The Sanatana Dharma stresses marriage over celibacy not because it is akin to Protestantism. There is none to protest against. Nor is it better to marry than to burn. It is simply this; marriage is not a lower state than other choices in life. It is a first step towards recognising that one can indeed be two who form a monad.". (shrink)

The influential apoha theory of concept formation of the seventh-century Buddhist Dharmakīrti stands as a philosophically powerful articulation of how language could work in the absence of real universals. In brief, Dharmakīrti argues that concepts are constructed through a goaloriented process that delimits the content of an experience by ignoring whatever does not conform to one's conditioned expectations. There are no real similarities that ground this process. Rather, a concept is merely what's left over once one has glossed over enough (...) of the differences between elements of one's awareness that one can judge the remainder to have the same effects as what one... (shrink)

In this 2nd part of the series on Tantra in this blog, we look at St. Augustine and the Postmoderns like Derrida and John Caputo to gradually frame a hermeneutics of Tantra.

This is a reading of Spivak as an heir to Sri Avinavagupta and Sri Ramakrishna. We ignore the fact that Spivak is a Shakta in her corpus. This review corrects/revises our understanding of Spivak and reinstates her as she really deserves to be read: she is within the traditions of Tantra. Spivak, in her own writings and interviews, has long spoken of her Tantric roots. This review in Prabuddha Bharata, which is the mouthpiece of the Ramakrishna Mission whose disciple Spivak (...) is, published this review because it carries on, as it were, the cultural work of analysing the precomprehensible in Spivak. There is a typo in the review since nothing in this world is or can be, perfect! (shrink)