Principle of Shakti in Kashmir Shaivism (Study)
by Nirmala V. | 2016 | 65,229 words
This page relates ‘Hridaya: the Primal Aspect� of the thesis dealing with the evolution and role of Shakti—the feminine principle—within the religious and philosophical framework of Kashmir Shaivism. Tantrism represents an ancient Indian spiritual system with Shakti traditionally holding a prominent role. This study examines four major sub-streams: Kula, Krama, Spanda, and Pratyabhijnā.
Go directly to: Footnotes.
Part 2.3 - ṛdⲹ: the Primal Aspect
[Full title: (2) De-Shaktisation trough the formulations of new concepts, treatises and sub-schools (3) ṛdⲹ: the Primal Aspect]
Using the symbol of hṛdaya as related to the ultimate is common in Vedas, 貹Ծṣa and in the tradition of ձԳٲ. The scholars who studied the concept in the field of Ś accept the influence of main stream Vedic tradition on the Kashmir Śaivite notion of heart.
The first reference of the symbol of heart is found in Śūٰ:
हृदय� चित्तसंघट्टात् दृश्यस्वापदर्शनम�;
hṛdaye cittasaṃghaṭṭāt dṛśyasvāpadarśanam;
(By fixing the mind in the heart (the yogi) has a vision of the perceivable and of dreams).[1]
But the present symbol attains a highly philosophical nature through the explanation of Abhinavagupta, who identifies the supreme sound as the heart of consciousness mentioned by Utpaladeva:
सा स्फुरत्त� महासत्ता देशकालाविशेषिणी �
सैषा सारतया प्रोक्ता हृदय� परमेष्ठिनः �ܰٳ ٳ deśakālāviśeṣiṇ� |
saiṣ� ratayā proktā ṛdⲹ� parameṣṭhina� ||(Īśٲⲹñ, I. 5.14;)
He explains thus,
हृदय� � ना� प्रतिष्ठास्थनमुच्यते, तच्च उक्तनीत्� जडानां चेतनम्, तस्याप� प्रकाशात्मकत्वम्, तस्याप� विमर्शशक्तिः इत� विश्वस्य परमे पद� तिष्ठत� विश्रान्तस्य तस्य इदमे� हृदय� विमर्शरूपं परमन्त्रात्मकं यत्र तत्र अभिधीयत� � सर्वस्� हि मन्त्र एव हृदयम्, मन्त्रश्� विमर्शनात्मा, विमर्शनं � परावाक्च्छक्तिमयम् �
ṛdⲹ� ca 峾 پṣṭٳԲܳⲹٱ, tacca uktanītya jaḍānā� cetanam, tasyāpi prakāśātmakatvam, tasyāpi vimarśaśakti� iti śⲹ parame pade tiṣṭhato viśrāntasya tasya idameva ṛdⲹ� vimarśarūpa� paramantrātmaka� yatra tatra abhidhīyate | sarvasya hi mantra eva hṛdayam, mantraśca vimarśanātmā, śԲ� ca parāvākcchaktimayam |
(ṛdⲹ means mainstay or resting place. According to formerly established theory, the insentients rest in the sentient and the latter rests in the light of consciousness, with which it is one. The place of rest of this also is the power, the free-consciousness.... The Heart the resting place of all, is mantra, which, in its essence, is nothing but free-consciousness, which also is simply the power of the transcendental speech.)[2]
ʲٰṃśivivaraṇa is the referent treatise which clearly discloses the exact purpose of the symbol and it explicitly uses the same nearly in eight places.[3] The main effort to the demonstration of the very symbolic heart seemingly is to equate it with the ‘kha� (sky), the essential part of the concept ī, which in reality occurred owing to fall of Śپ from the prime position it had in the Kula stream.[4] Bhairava, the narrator says that the central theme of Kula dwells in his own heart, and that heart is equated with the sky.
This is explained as,
कौलिकोऽय� विधिर्देवि मम हृद्व्योम्न्यवस्थितः �
कथयामि सुरेशानि सद्य� कौलिकसिद्धिदम् �kauliko'ya� vidhirdevi mama hṛdvyomnyavasthita� |
kathayāmi sureśāni sadya� kaulikasiddhidam ||[5]
Paul Eduardo Muller Ortega views the usage of the symbol of heart as similar to that of the natural metaphors having close proximity with the heart like lotus, moon and ocean.
He further argues,
The Heart equal to the abyss as constituting descriptions of the yogic immersion in the Heart. To suggest that these metaphorical correspondences are mere flights of poetic fancy would be to misjudge seriously the intention of the authors of the texts.[6]
Later on heart is directly referred to as synonymous with Śپ to make it confirm that ī—the former supreme feminine holds an inferior level in the monistic philosophy.
For instance ṣeᲹ following Abhinavagupta, emphasizes that,
एष एव � विमर्श�, चित्, चैतन्य�, स्वरसोदिता परावाक�, स्वातन्त्र्य�, परमात्मन� मुख्यमैश्वर्यं, कर्तृत्त्व�, स्फुरत्तासार�, हृदय�, स्पन्द इत्यदिशब्दैरागमेषु उद्घोष्यते �
eṣa eva ca vimarśa�, cit, caitanya�, svarasoditā parāvāk, svātantrya�, paramātmano mukhyamaiśvarya�, kartṛttva�, ܰٳra�, ṛdⲹ�, spanda ityadiśabdairāgameṣu udghoṣyate |[7]
Note: Abhinavagupta associates heart with the word principle (which has already been established as the form of Śپ) in Paryantapañcāśikā, v. 1:
आद्यन्तान्तर्गतानन्तशक्तिविश्रान्तिनिर्भराम् �
अनुच्चार्यामहंवाचमधीये हृदय� विभो� �ādyantāntargatānantaśaktiviśrāntinirbharām |
anuccāryāmahaṃvācamadhīye ṛdⲹ� vibho� ||�(cf. Virūpākṣapañcāśikā, 9.)
The identity between heart and Śپ confirms the Ś’s dominance over the subordinate Śپ.
Footnotes and references:
[1]:
Śūٰ, I.15; Mark S. G. Dyczkowski, The Aphorisms of Ś, p. 45. ṣeᲹ being a student of Abhinavagupta, represents heart as connected to the realization of ultimate reality as discussed by monistic Kashmir Ś. From this point of view, the realization is that the external world is nothing but the consciousness abiding in the heart. Then the heart represents the functioning of individual mind. It is important to note that the conclusion of Paul Eduardo Muller Ortega in this regard as “The Śūٰs, true to the usual terse and slightly opaque style common to sutra texts, do not spell out these conceptions in any detail. Important religious concepts are simply presented; it was left to the preceptor or commentator to make explicit the concepts� true import.� The Triadic Heart of Ś, State University of New York Press, Albany, 1989, p.79.
[2]:
[3]:
See Bettina Baumer, Abhinavagupta-Hermeneutics of the Absolute: Anuttaraprakriyā, Indian Institute of Advanced Studies, Shimla, 2011, p.114.
[4]:
ī appearing in the opening verse of ʲٰṃśi, has been interpreted by Abhinavagupta
[5]:
ʲٰṃśi, I. 4.
[6]:
Paul Eduardo Muller Ortega, Op.cit, p.143.
[7]:
Parāpraveśikā (PPr.), p.2.