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he concept of wheel probably denotes the awareness about the time which constantly undergoes variation. Early non-orthodox beliefs of the entire world were conceded the cyclic structure of time, and linked it with the feminine power.^[1] Krama school, through the image of cakra (wheel) represents, sequential as well as the closed character of worldly existence, apart from the orthodox concept that view life as a linear entity.

There are differences in the opinion about the classification of the stages as four or five. Navjivan Rastogi adhering to the ideas articulated in the works like 罢补苍迟谤腻濒辞办补 and 罢补苍迟谤腻濒辞办补viveka arrives at similar assertion regarding this issue.^[2] Usually the categories seen in this connection are 蝉峁涐梗峁璱, sthiti, 蝉补尘丑腻谤补 and an膩khy膩. Krama metaphysics is always based on the progression from determinate phase to indeterminate one. These are also interpreted as the three modes viz., 辫谤补尘腻峁嘺, prameya and 辫谤补尘腻迟峁�. The present study does not agree with the incorporation of twelve 碍腻濒墨蝉 into this rigid range of epistemological triad.

The members of this cakras of 碍腻濒墨蝉 or 碍腻濒颈办腻蝉 are also recognized as the successive stages of realization. The first among them is S峁涐梗峁璱k膩l墨. As the name indicates she represents the duty of creation:

啶�啶膏�嵿く啶距え啷嵿い啷� 啶多ぎ啶む�� 啶膏ぞ 啶む�� 啶膏�冟し啷嵿�熰た啶曕ぞ啶侧�� 啶む�� 啶�啶� 啶膏�嵿ぎ啷冟い啶�

yasy膩nte 艣amate s膩 tu 蝉峁涐梗峁璱k膩l墨 tu y膩 sm峁泃膩^[3]

In this level the 艢补办迟颈 represents only the power devoted to the peculiar procreative function. 

K.C. Pandey is of opinion that,

鈥渨hen the will to create arises in her and the 鈥榳ould be鈥� creation shines in outline objectively within her, is called S峁涐梗峁璱k膩l墨.鈥�^[4]

Second one Sthitin膩艣ak膩l墨 also known as Sthitik膩l墨 is the subsequent one by and in controversial with the one-sided process of creation:

啶�啶む�嵿ぐ啷嬥い啷嵿お啶ㄠ�嵿え啶� 啶む�� 啶膏ぞ 啶︵�囙さ啷� 啶�啷佮え啶膏�嵿い啶む�嵿ぐ啷堗�� 啶侧��啶�啶む�� 啷�
啶むぞ啶� 啶掂た啶︵�嵿ぇ啶� 啶︵�囙さ啶︵�囙さ啷囙ざ 啶膏�嵿ぅ啶苦い啶苦�曕ぞ啶侧�� 啶�啶灌�囙ざ啷嵿さ啶� 啷�

yatrotpann膩 tu s膩 诲别惫墨 punastatraiva l墨yate |
t膩峁� viddhi devadeve艣a sthitik膩l墨 mahe艣vara ||^[5]

Sthitik膩l墨 is usually known as one who abides in every corpora and she reaches where the origin was and hence Kramastotra explains it as 鈥楽膩峁僺膩rik墨 蝉迟丑颈迟颈岣�鈥�.^[6] Sa峁僪膩rak膩l墨 is the next stage where the 碍腻濒墨 stands for the complete disaster-hindrance into the dissolvent. Thus, these three 碍腻濒墨蝉 represent the processes creation, sustenance and annihilation.

Raktak膩l墨, the fourth one, along with the seventh and tenth 碍腻濒墨蝉 viz., 惭峁泃测耻k膩l墨 and M膩rta峁囜笉ak膩l墨 stands for the function of creation. In 顿别惫墨辫补帽肠腻艣补迟颈办腻, Raktak膩l墨 is defined as the fragment (碍腻濒墨) that has been turned out into this world. 惭峁泃测耻k膩l墨 is exemplified as one who goes up to the end of 惭峁泃测耻 i.e., the fragmented aspect of death. M膩rta峁囜笉ak膩l墨 is the eighth 碍腻濒墨 who is related to the emerging sun, with a light and is succeeded by K膩l膩gnirudrak膩l墨.

The specific forms she possesses are her own. Mah膩k膩lak膩l墨 is with the light of hundred suns. Mah膩bhairavaca峁囜笉ograghorak膩l墨 killed all the Bhairavas and exists as the supreme reality. 搁耻诲谤补办腻濒墨 is also the goddess of death which is also related to the ultimate process of ending. Param膩rkak膩l墨 is with the form of bliss and of 笔补谤腻辫补谤腻.

Basing on these facts it may reasonably be ascertained that the Krama is a derivative of Kula-the earliest stream. The conceptions such as 碍腻濒墨 and 艢补办迟颈cakra accentuate on the 艢补办迟颈-centeredness of the system. The change indicated here is from the thought structures of its primordial and maternal schools i.e., the aboriginal mother goddess and Kula system respectively.

Footnotes and references:

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[1]:

Geshe Luhndub Sopa, The Wheel of Time: the 碍腻濒补肠补办谤补 in Context, Snow Lion Publications, USA, 1991, p.3, says, 鈥淒espite an ancestry that may be pre-Vedic and indigenous to the Indian subcontinent, was articulated rather late in the course of Indian religious history. It probably began as an unorthodox, doctrinally ambiguous and magically oriented movement that gradually was absorbed by and adopted to more established religious traditions.鈥�

[2]:

Navjivan Rastogi, Krama Tantricism of Kashmir, p.58.

[3]:

顿别惫墨辫补帽肠腻艣补迟颈办腻, V. 25 ab.

[4]:

K. C. Pandey, op.cit., p.513. Navjivan Rastogi just like K C Pandey, interprets 蝉峁涐梗峁璱k膩l墨 as supreme consciousness (辫补谤腻 蝉补峁僾颈诲) which is engaged in the duty of creation in the form of object (prameyagata蝉峁涐梗峁璱). For details, see Navjivan Rastogi, Kashmir 艢iv膩dvayav膩d mem Kram aur Kul Mat; 鈥淢etaphysics and Tantric Esotericism of Krama: an Analytical Exposition,鈥� Part. 3, p.372. This may be considered as a replica of Abhinavagupta鈥檚 attempt to represent 碍腻濒墨蝉 in terms of subject-object level and means of realisation. As coined by Jayaratha, 尘腻苍补峁� hi 苍腻尘补 meyopara帽jitameva bhavet | m膩n膩tman膩 ca bahirmukhena m膩taiva sphured iti | 罢补苍迟谤腻濒辞办补, III. 160. But in the Kramastotra, Abhinavagupta presents the same in a distinct manner i.e., by glossing the S峁涐梗峁璱k膩l墨 to the concept of aunmukhya, Ibid., 15-16 q. v. Chapter, 2 in this study, p.46.

[5]:

顿别惫墨辫补帽肠腻艣补迟颈办腻, V. 26.

[6]:

Kramastotra, V.16; See also 罢补苍迟谤腻濒辞办补, III.162-鈥�3, and Viveka on the same as:鈥斺��saiva 辫补谤腻蝉补峁僾颈诲诲别惫墨, t膩峁� 辫谤补尘腻峁嘺svar奴pa峁� raktyaparapary膩y膩峁� 蝉迟丑颈迟颈峁� anta岣�pram膩traik膩tmatayaunmukhye j帽膩to samartha iti sv膩tmavi艣r膩nticamatk膩r膩tmano sa峁僪artumicchu岣� 膩tmas膩cchik墨r峁�u岣�鈥�