2uow2017 ‘A Thousand Years of Abhinavagupla’ by Jefe Licke (rapnanesutajoural on A THOUSAND YEARS OF ABHINAVAGUPTA* oy Dr. Jeffrey S. Lidke Jensr.2016 ‘A thousand years ago to the year one of the world’s most prolife and brilliant literary critic is said to have penned his final work. if our historical estimations on the birth date, the date of Abhinavagupta’s final lterary work — his laminous commentary, Reflections onthe Recognition ofthe Lord (Isvarapratyabhijts-vimarsin) —and death are accurate, then this briliant Kashmiri polymath put down his pen. around the age of 66 atthe time ofthe winter solstice in 1015, some live years before dying, or as lore would have it, transforming back into his divine, Bhairava self, Looking back through the lens of time we can only imagine what Abhinavagupta would have done after concluding his final work. Certainly, his options would have been many. During his life (ca 950-1020) he had over 19 respected teachers ‘who aided him in the mastery of a variety of subjects, ranging from grammar to logic to Buddhist philosophy to tantric ritual and meditative practice to art, music and aesthetics. One wonders, id he put down his pen and pick up his brush? Did he sp wine witha beloved consort (aif) or did he tune his veena and play an intoxicating raga? Or did he sit in meditative stillness aftr first engaging in the worship ofthe deities of his tantric tradition? Perhaps he did all these things. Certainly, the great master had many options at his disposal for how he might live out his ‘retirement’ days. By ehat point he had weitten atleast 44 works (21 extant, 23 referenced from known works), ranging across four general categories: philosophy, Tantra, aesthetics and hymns. Hs education was unrivaled. He had esteemed teachers in gramumar, poetry, logic, philosophy, esoteric ritual practice, yoga, at ‘music and aesthetics. By the end of his career he had already earned widespread regard as one of the greatest teachers, writers and spiritual masters of his day. A millennium later, he is recognized by many as being not just one of India’s greatest intellectuals but as one of the most brillant writers, philosophers and aestheticians the world has ever known, Born of a Yogini Wis safe to say that Abhinavagupta’s life both began and ended witha proverbial ‘bang’-In the opening verse to his Distillation ofthe Tantra Tanerasara) Abhinavagupta poetically links his own birth with the birth of creation itself. The preeminent Abhinavagupta scholar, ‘Alexis Sanderson, briliantly renders Abhinavagupta's invocatory double meaning as follows: May my heart shine forth, embodying the bliss of the ultimate, [for itis] {one with the state of absolute potential made manifest in the fasion of these two, the ‘Mother’ grounded in pure representation, radiant in ever new genesis, and the Father, ’all-enfolding (Bhairaval, ‘who maintains the ight [of consciousness] through his five faces)(formed from the emussions produced through the fusion of these wo, _my mother Vimala whose greatest joy was in my birth, and my father (Narajsimhagupta (when both were] al-embracing fin their union|} (Sanderson 2005, 85) ‘With these words Abhinavagupta begins his briliant synopsis of the spiritual tradition that he himself would bring to an apex, namely the ‘Tantra, or specifically de Tantra of dhe Embodied Triad (Irika Kaula), which itself was a particular lineage within the broader spectrum of pan-indian Tantra (Dyczkowski 1992, 12; White 2005). Abhinavagupta’s creative synthesis of the Embodied Triad placed emphasis on ‘the use ofthe body as a means to attaining a non-dual state of recognition ofthe all-pervasive nature of divine consciousness, termed Bhairava or Paramedvara, True to the tenor of his Embodied Triad tradition, Abhinavagupta begins his Distillation ofthe Tantra by pina sutrajournal coma thousand. yoars-of-abhinavagupta-by joey licko 192ina2017 ‘A Thousand Years of Abhinavagupla’ by Jefe Licke equating his own self with the Self of the cosmos a large. In this interpretive spirit, ne conflates the divine couple, the goddess mother Sakti and supreme father Bhairava, with his own mother and father, Vimala and Narasihagupta whose physical union, enacted according tothe {Injunctions of Tantric ritual, created Abhinavagupta, just as the union of Sakti and Bhalrava is ‘understood to birth the cosmos, not just at che beginning of time, but at the beginning of athe LUmes thatthe universe has been recreated (that number itself being infinite). In this way, Abhinavagupta affirms the most profound and central tenet of his Embodied Tria¢ tradition: one's own Fawareness is itself that supreme awareness that is God.[1] A Bearer of Many Lineages -Abhinavagupta’s cosmicized description of his own birth matches the claims that he was in fact an incarnation ofthe god Bhairava, conceived through extraordinary circumstances in which his mother and father engaged in ritualized sexual union (Rastogi 1987, 20). His Dirth, in other words, was not the beginning of his life journey but rather the appropriate means by which a god being entered into the ‘world for the sake of revealing ancient wisdom toward the end of providing a path of lieration for worthy seekers, Similar to the narrative ofthe historical Buddha, Abhinavagupta lost his mother Vimala at an early age. Thereafter, he was raised by his father, Narasirhagupta together with his brother Manoratha and sister Amba. Hs father was a pious Brahmin, devoted to tne worship of lord Siva, He was Abhinavagupta’ first teacher or guru, instructing him in grammar, logic and Sanskrit literature (Gnoli 1988, 4). After his early training in his father’s home, Abhinavagupta would then go on to study with some twenty esteemed teachers, from a variety of traditions and disciplines Pandey 1963, 12). Although his father was a Saivite, or follower of the Hindu god Siva, Abhinavagupta would study from Valgnavas, Buddhists and teachers from other, nor-Salvite, lineages. Ofhis many teachers, five stand out (Miller-Ortega 1988, 45-17). The first of these is Laksmanagupta, disciple of Utpaladeva in the lineage of the revered Somsinanda, author of the Vision of Siva (Sivadist) and initiate ofthe esteemed Tryambake lineage (Nemec 2011). From. Laksmanagupta, Abinavagupta learned several systems of non-dual philosophy and practice that were central to his own eventual _systematization, including the Triad (Trika) and Recognition (Pratyabhijna) systems. from Bhotiraja he learned the Sequence (Krama) system, Under the tutelage of Bhaskara he learned the Vibration (Spanda) system and guided by Bhata Tauta he immersed himself in aesthetics and philosophy of language. The most important of his many teachers is undoubtedly Sembhunatha who initiated ‘Abhinavagupta into the Kaula or Embodied tradition and guided him into what Abhinavagupta believed tobe the highest stages of pina sutrajournal coma thousand. yoars-of-abhinavagupta-by joey licko2uow2017 ‘A Thousand Years of Abhinavagupla’ by Jefe Licke spiritual realization. So great was Abhinavagupta’s adoration for Sambhunacha that he compared him withthe sun and described him as “the moon appearing over the ocean of Trika knowledge” (Dupucke 2008, 7). Is from Sambhunatha that Abhinavagupta received the esoceric and sacred descent of power (Sakripata) that awakens the Coiled Power (kundalinsakti atthe base ofthe spinal column leading to the purification of the subtle hody asa result of the ascendance of this spiritual energy into the crown ofthe head — an ascendance that is saie to bring about full recognition of one's divine nature Ferrario 2015; Walls 2007; Lidke 2006; Silburn 1988).Just as Abhinavagupta ‘was conceived through an act of esoteric Tantric, sexual ritual so was his initiation by Sambhunatha bestowed via a secret sexual rite in Which a Tantric messenger (ut) served as the conduit for his mystical awakening. n his Light an Tantra (Tantraloka, the massive compendium on Tantric practice that Abhinavagupta would later write atthe behest of Samibhunaths, Abhinavagupte would devote an entire chapter to this rite, which he termed the rahaysa-vidhi or “secret injunction” (Lidke 2005; Dupuche 2008) ARenaissance Mystic Abhinavagupta likely completed his extensive studies and stages of mystical realization by his mid-thities, At that point he lived out the rest of his life asa teacher and prolific author, turning his home in Kashmir into a place of spiritual learning (Gramma) in which he wrote his many works and attended to the training ofthe numerous disciples who were drawn to him lke bees to honey, The vibrant setting of ‘Abhinavagupta’s world at this time is described palpably by his disciple Madhuraja inthe “Meditation Verses" (Diynaéioka) from his Reflections on the Lord Teacher (Gurunatha Parémaréa).In these oft-quoted verses, Abhinavagupta is hailed asa divine incarnation who sits amidst a garden of grapes within a pavilion adorned with crystal and beautiful works of art. The room is fragrant with the smell of ‘Aowers, incense and oll lamps. Beautiful women dance co the instruments and songs of master musicians al in adoration of the master teacher, Abhinavagupta, who is surrounded by students and various spiritual adepts. The eyes ofthe long-haired master are described as trembling in ecstasy ashe sts ina yogic posture, holding a prayer bead in one hand and a musical instrument in another (see full ‘translation by Masson and Patwardhan 1968, 38-3). Im this wonderful portrait by Machuraja, we gt a clear vision of Abhinavagupta as one who lived and embodied the ecstatic states about whieh he wrote in such powerful and inspiring ways. Like Leonardo Da Vinci and other renaissance scholars he was at once a philosopher, artist and visionary, embodying his knowledge through multiple mediums. In other words, Abhinavagupta was far more than justa great writer. Rather, his writings ae testimony to his holistic mastery of multiple fields of experience and expression — philosophy, grammar, poetry, Tantra and art. While Pandey believed that Abhinavagupta’s career can be marked by three distinct stages ‘nwhich he frst wrote solely on Tantra, den aesthetics and then philosophy (Pandey 1963, 41) itis more likely te case, as Gnoli has ‘pointed out, that his interest n and writings on philosophy, Tantra and aesthetics interpenetrated each other throughout hs literary career (Gnoli 1999, $6). Certainly, each of Abhinavagupta's writings, whether they be on the topic of Tantric ritual, philosophy or aesthetics represent a mysticaly-charged artistic vision in which the divine reality is understood as an ever-creative impulse arising ‘within the heart whichis itself identified asthe ultimate and most sublime location of divinity. For Abhinavagupta, in other words, art, the spirituality path and the divine reality were clearly one and the same, n the mind of Abhinavagupra, this cosmos is God's artistic creation, a creation within which every smallest unit of that creation itself embodies and reflects the divine Artist which isis origin, For this reason, artistic expression — be it poetry, drama, music painting or any other artistic ‘medium — is ust as capable of bringing about spiritual realization as yogic practice. For Abhinavagupta, the artist isa yogin and the ‘yogin isan artist. The ultimate artistic expression is life itself which presents the opportunity for the attainment of spiritual realization, an event which empowers the individual to recognize his or her own identity as non-istinet from the identity of that ultimate Artist who is the source and very body of creation itself. pina sutrajournal coma thousand. yoars-of-abhinavagupta-by joey licko2uow2017 ‘A Thousand Years of Abhinavagupla’ by Jefe Licke At the heart of Abhinavagupta's writings isthe linking of atrintarian theological and ritual tradition together witha philosophy of Intuitive perception in which the ability to cognize is itself recognized as proof ofthe presence of divinity. The influence ofthe former arose from ls initiation into Triadic (Trika) Tantra. That training revealed to him a Godhead whose being gave expression through a myriad of triads, which he earned to worship and internalize through the use of mystical diagrams known as yantras. Foremost among, ‘these divine triads was the trinity of goddesses known as Supreme (Para), Supreme-Nonsupreme (Parapara) and Nonsupreme (Apara) ‘These three divinities were in turn associated with a host of other theological and epistimelogical triads including the three powers of will, (icchasaktn, knowledge Glanasaked, and activity (kriyaéakt), the triad of God (Siva), Goddess (Sakti) and man (nara), the triad of past, present and future, the triad of seriptures as dual (dvaia), dual-cum-nondual (dvaitsdvaita) and nondual (advatta, levels of initiation 2s rnild, medium and intense, ete. Containing within itself and pervading each ofthese triads, Abhinavagupta recognized one singular, Supreme Lord, Paramesvara, as itself the ultimate source of all the triads. This supreme consciousness Abhinavagupta understood to be rondistine! from one’s Very own self-awareness. Drawing from both literary and aesthetic theory, Abhinavagupta identified the literary and artistic principles of intuitive insight (pratdbha) and interpretive resonance (dhvano, as indicators of divine awareness itself (Larson 1976; Timalsina 2007; Lawrence 2013; Cuneo 2015). In other words, the ability of an individual to recognize an object, to have the “aha!” moment, to experience the flash of insight was identified by Abhinavagupta asthe presence of a Godhead that reveals itself through each and every act of selFawareness. It was this briliant insight that formed the foundation of Abhinavagupta’s philosophical writings as distilled in his final work, Reflections on the Recognition ofthe Lord (lévarapratyabhijnavimarsin). For Abhinavagupta the intuitive fash of insight (pratibha) isthe very principle that makes possible the recognition of one's own conscious set as the God that ane seeks, ‘Toward the aim of experiencing this intuitive flashing forth, Abhinavagupta himself prescribed and engaged in a complex host of artistically grounded ritual practices through which the sensations triggered by contact ofthe senses with ritually prescribed sense objects would be fused and channeled toward a unitive cognitive actin which th ritualist would perceive him or herself as being ‘pervaded within and by the body of God (Sanderson 1986). In this way, Abhinavagupta established a profound connection between the "tasting of aesthetic experience” (rasdsvada) with the “tasting of spiritual experience” (brahmasvd,alink made possible through the synthesizing of his Tantric training with his immersion into the field of Indian art, grammar and literature (Larson 1976). Abhinavagupta’s brilliant systematization of multiple fields of religious, philosophical artistic and literary knowledge itselfs nowhere Deter captured than in these words from his final work, Reflections on the Recognition of the Lord: (One who realizes that [the powers of] knowledge (ina) and activity Ckriya) are but manifestations ofthe svatantrya lindependent power of God and that these manifestations are nondistint from oneself and from the very essence ofthe ultimate, whase form is the Lord ( Ievararipa)—a person lin ths way] “resonating” entirely with the awareness that knowledge and activity are really one—whatever this ‘person desires he or she is certainly able to accomplish. Such a person abides in a state of complete mystical absorption (samavesa), even ‘though stil in a body. Such a person, while stl inthe body, isnot just Uberated while living (fvanmukta) but has in fact attained the ultimate realization of identity with the supreme lord (paramesvara) (evarapratyabhijtavimarsint 4.1.15) [In this typically luminous passage Abhinavagupta identifies the mystical absorption (samaveéa) of his Tantric practice with the cognitive act of resonance (divand that flashes forth (pratibha) as the awareness that one's own embodied consciousness is itself the very presence of supreme consciousness that isthe object and goal of one’s meditative and ritual practice. In this way, Abhinavagupta affirms that ‘mystical realization is itself creative, cognitive act one in which divinity itself recognizes Its own presence in and as the embodied cosmos (kula), on both cosmic and personal levels. pina sutrajournal coma thousand. yoars-of-abhinavagupta-by joey licko2ina2017 ‘A Thousand Years of Abhinavagupla’ by Jetrey Licke Returning to the Cave of God Ina number of his writings Abhinavagupta dallies with the etymological resonances of his name, offering, among ather interpretations, ‘the rendering that his name itself highlights that he is a teacher or revealer of “ever new" (abhi-nava) "secrets" (gupta). Indeed, Abhinavagupta’s entire life is one in which he himself was first awakened to the secrets of creation by his own teachers and then from, {hat point on dedicated his remaining days to teaching, writing, experiencing and revealing those great secrets of the nature of existence. ‘We have observed the way in Which Abhinavagupta perceived his bizth as appropriately costae. t should come as no surprise thatthe day of his so-called “death" was likewise transcendentally indicative of the depths of his personage. On that eventful date, somewhere around 1020 CE, itis said that Abhinavagupta entered Bhairava Cave near the city of Srinagar in his naive land of Kashmir, India together with 1200 disciples (Miller-Ortega 2000, 574). Therein, Abhinavagupta is believed to have chanted a hyran to Bhairava, the ‘supreme deity of which he himself was identified as an earthly incarnation, Abhinavagupta was never again seen in human form, This was nota death by any ordinary convention but an alehernical transformation af a body that had long since been recognized as perfected and awakened through the practices that had een revealed to him by his owin masters. At the heart ofthese practices was the teaching thatthe entire cosmos is itself te body of God, a body that is luminous, ever-awakened, consciousness. A master like Abhinavagupta does not and cannot die for he recognizes that there is no “death” but only awakening into the recognition that death itself nothing more ‘than the illusion of separation from God. Abhinavagupta captures this profound state in his Quintessence ofthe Supreme Truth (Parama,thasira} Mone comes to know one’s own Self as the very nature of divinity as immaculate intelligence comprised of a knowing subject who ‘transcends the universe, [who is] omanipresent like an unsetting arisen sun, comprising a divine will devoid of [the restrictions of the space-time continuum, immovable, imperishable—{perceiving oneself in ths way as] the completely perfect Lard who isthe sole agent in te formation of te dissolution and arising of the multitude of powers [that give rise to and sustain creation, being the wise creator of the laws of creation, ete.—for such an omniscient yogin how could there be [death and subsequent] transmigration? Where would he roam, and why? (Paramarthasara 61-56) Let us close by imagining ourselves as among those 1200 disiplines who entered together with Abhinavagupta into the Cave of Bhairava atthe end of his life 1,000 years ago Sitting withthe other disciples and chanting the Hymn of Bhairava (Bhairavastotram) one imagines that Abhinavagupta therein revealed his final secret: that he himself had fully become that “unsetting arisen sun”, shat principle of life ever transcendent to death, being itself the light of lluminating wisdom, Perhaps inthe darkness of the cave we actually perceive a tangible light emanating from Abhinavagupta’s body and entering into our own, penetrating toa place of Insight that awakens in our own hear, that interior cave of wisdom, the recognition ofthe deepest truths of our being, pina sutrajournal coma thousand. yoars-of-abhinavagupta-by joey licko2uow2017 ‘A Thousand Years of Abhinavagupla’ by Jefe Licke While our closing meditative journey back to Abhinavaguptas final act of revelation occurs solely inthe realms of imagination, the illuminating impact of Abhinavagupta on the many disciples of his day and on the thousands of subsequent students, teachers and scholars who continue to find inspiration in his many extant works is quite real. A thousand years after he entered the Bhairava Cave never tobe seen again we are still only just beginning to appreciate the treasure trove of secrets illuminated by this great Kagmiri master ‘who left in his wake a priceless legacy of timeless and universal, revelatory wisdom, Note The Author and Paitors of Sutra Journal wish to acknowledge the inspiration for this millennial piece to Christopher (Hareesh) Wallis who was the first to call our attention to the passing ofa thousand years since the departure of the great Abhinavagupta. Kis outstanding piece can be found heve: hrtpiwwww-tancrikstudies.org/blog/2015/12/20,Who-was-abhinava-gupta Ghupsitwwew.tantrikstudies org/blog’2015/12/20/who-wasabhinava-gupta) Selective Bibliography on Abhinavagupta and Kashmir Saiva Studios” Abhinavagupta, Rejanaka & Balajinnatha Pandita, 1992. Essence ofthe exact realty, of, Paramérthaséra of Abhinavagupt. (nttp:twww scribd com/dact286743380/B-N-Pandit-Essence-of the Exact Reality-or Paramarthasara-of Abhinavaguptatscribd) New Delhi: Munshiram Manoharlal Publishers. Bansat-Boudon, Lynne & Kamalesha Datta Tripathi 2015. An Introduction to Tantric Philosophy: The Paramarthasara of Abhinavagupta with the Commentary of Yogaraja (hitpslplay google com/store/books/detals? Id-nvbJAWAAQBA[&source=productsearchtutm,source=HA,Desktop_USAulm_medium=SEN&utm_campalgn=PLA&pcampalgni Introduction, notes, critically revised Sanskrit text, appendix, and indices by ye Bansat-Boudon. Routledge Studies in Tantric ‘Traditions. New York: Routledge, KTADOII: Baumer, Bettina, 2011, Abhinavagupta's Hermeneutics of the Absolute: An Interpretation of his Paréurisiké Vivarana. (ntp:sewrwedeprintworld, com product-detal.php?pid=1280857015) DK Printworld Biernacki, Lorilial, 2013. “Panentheism and Hindu Tantra: Abhinavagupta's Grammatical Cosmology (httpsigbal oup comscademie/productipanentheism-across-the-worlds-traditions-97801999890017cc=usBlang=en8).” In Loriiai Biernacki & Philip Clayton, eds, God's Body: Panentheism Across the World's Religious Traditions (New York: Oxford University Press) 161-176. Chakravarty, H.N. & Boris Marjonovic. 2012. Zantrasdra of abhinavagupta (http: www. amazon.com/Tantrasara-Abhinavagupta-H-N. CChakravarty/dp/0915801787), Portland: Rudra Press. Cuneo, Daniel. 2015. “Rasa: Abhinavagupta on the Purpose(s) of Art (http:;Wwww.amazon.com/The-Natyasastra-Body-Performance- Kezysztofidp/B0118115¥.” In Nair Sreenath, ed, The Natyashastra and the Body in Performance: Essays on Indian Theories of Dance and Drama (New York: McFarland): 72-8. Deshpande, G.T, 1989, Abhinavagupta (http:iwww goodreads comv/bookishow/1683504.Abhinavagupta), Delhi: Sahitya Akademi Dupuche, John. R. 2008. Abhinavagupta: The Kula Ritual as Eaborated in Chapter 29 ofthe Tantraloka. (httpilink springer com/artile/10.1007%2Fs10783-008-9066-1) Delhi: Motilal Banarsidass, Dwivedi, RC, and Navjivan Rastogi, eds, 1987. The Tantraloka of Abhinavagupta withthe Commentary of Jayaratha, (hteps: books, google.com/books/about/The Tantr¥sC4%%8tioka_of Abhinavagupta.huml?id-nYUgnQEACAA) 8 vols Originally edited by Madhusudan Kaul Shastri and Mukunda Rama Shastri. Kashmir Series of Texts and Studies Dyczkowski, Mark S.G, trans. 1992. The stanzas on vibration: The Spandakarika with Four Commentaries: The Spandasamdoha by ‘Ksemarsja the Spandavrtt by Kallatabhatta the Spandavivrd by Rijanaka Rama; [and] the Spandapradipiks by Bhagavadutpala (nttps:fbooks. google com/books?id-IBKsNYEMWpoCAsource=ghs book_other_versions). Albany: State University of New York Press. 1987. The Doctrine of Vibration: An Analysis of the Doctrines and Practices of Kashmir Shaivism.(ntp:iwwvesunypress.eaw)p-183- ‘he-doctrine-of-vbration aspx) SUNY Series n the Shaiva Traditions of Kashunir. State University of New York Press. Ferrario, Alberta, 2015. “Grave in Degrees: Saktipata, Devotion, and Religious Authority inthe Salvism of Abhinavagupta (nttprepository.upenn.eduldissercations/AAIST21601/" Ph.D. dissertation in religious studies, University of Pennsylvania, Gnoli,Raniero, ed and trans. 1999 [1972]. Abhinavagupta luce dei Tantra: Tantrafoka (tp Iucedel-tancratantr-loka), Milan: Adelphi Edizion. pew goodreads.comybook/show/9750249 1968. The Aesthetic Experience According to Abhinavagupta.(ntp:}\wwv- goodreads com/bookishow/6377054-the-aesthetlc- experience-according-to-abhinavagupta-chowkhambe-sanskrit) Varanasi: 100. Lawrence Chowkhamba Sanskrit Series Office. Hanneder, irgen. 1998. Abhinavagupta’s philosophy of revelation: an edition and annotated translation of Malinsloklavartika J, 1-399 Ghups:isearchworks stanford. edujview/5822079). Groningen Oriental Studies, 14, Leiden: Brill pina sutrajournal coma thousand. yoars-of-abhinavagupta-by joey licko a92uow2017 ‘A Thousand Years of Abhinavagupla’ by Jefe Licke Kaviraj, Gopinath, 1966. “The Doctrine of Pratibha in indian Philosophy (Ghtps:iarchive.orgistream/Aspects.of Indian. Thought.ty Gopinath Kavire/2ul-embed#pageint/mode/1up).* In Aspects of Indian Thought. Burdwan: University of Burdwan, Lakshman Joo, Swami & John Hughes, 2003. Kashmir Shaivism: The Secret Supreme (http:itwww.universalshaivafellowship.orgiteachingsisecretsupremelt VqBTOxgrl.yU). AuthorHouse Larson, Gerald James. 1976. “The Aesthetic (Rasasvada) and the Religious (Brahmasvada) in Abhinavagupta’s Kashmir Saivism.” (hp: philpapers.orgieciLARTAR) Philosophy East and West26: 371-8871974. _—_. "The Sources for Sakt/in Abhinavagupta's Kashmir Saivism: A Lingulstic and Aesthetic Category Ottpphilpapers.orgirec/LARTSE)." Philosophy East and West 24: 41-56. Lawrence, David Peter. 2013. “The Disclosure of Sakaiin Aesthetics: Remarks on the Relation of Abhinavagupta's Poetics and Nondual Kashmiri Saivism (hup:/wwwcuky.eduCenters/Asia/SECAAS/Seras/2013/6LawrenceDisclosure.pdl).” In Southeast Review of Asian Studies (SERAS), Volume 25: 90-102 Lidke, Jeffrey S, 2013. “Quintessence of the Highest Purpose: A Translation, Introduction and Analysis of Sr Abhinavagupte's Paramarthasara (utp:)mujournal.mewaruniversityin/J18%201-4/1.pdl).” Journal of Indian Research, Vol. 1, Number 4 (October- December) 1-24 2005. “Interpreting Across Mystical Boundaries: An Analysis of Saméathin the Trika-Kaula Tradition (htp:{iwwwebrill.comitheory- ‘nd-practice-yoga)." In Knut Jacobsen, ed, The Theory and Practice of Yoga: Essays in Honour of Gerald James Larson (Leiden: Brill): 14 180, Masson, J. and MLV, Patwardhan, 1969, Séntarasa and Abhinavagupta’s Philosophy of (utpsifbooks google.com books/about%C59%9A%C498Intarasa_and_Abhinavagupta.s Philosop huml?id-7FTEpwAACAA)pAesthetics (uutps:books google.com books/about/%CS%9AM%C4%81ntarasa and Abhinavagupta s Philasop.huml?id=7FTEpwAACAA)). Pune [Bhandarkar Oriental Research Institute, “Miller-Ortege, Paul E, 2000, “On the Seal of Sambhu: A Poem by Abhinavagupta (Ghtps:rive google-comfile}dj0B24pSk92998nd02nXOxnOXRUUWS view)" In David G. White, Ed, Tantra in Practice (Princeton University Press: 573-586, 1988, the Triadie Heart of Siva: Kaula Tanccsm of Abhinavagupta in the Non-Dual Shaivism of Kashmir Gitpsinwwew.sunypress.edu/p-857-the-triadic heart-of-sva.aspx). Salva Traditions of Kashmir Series. tate University of New York Press. Nemec, John. 2011. The Ubiquitous Siva: Somananda’s Sivadtsti and His Tantric Inerlocutors. Oxford and New York: Oxford University Press, (atep:www.tandfonline.com/doWabs/10,1080/0048723X.2012.750827?journalCode=rrel202. VgBWrxgrLyU) (tipstwvtandfontne.comi@ovabs!10,1080)0048721%.2012.750027jovrnalCode=tel208 VaBNsgrL YU) Padoux, André. 1990 (1963). (http:/www-tandfonline.com/doijabs/10.1080/0048721%.2012.7509272 journalCode=rrel208. VqBWrxgrL.y) Vac: The concept of the Word in selected Hindu Tantras htcpwvrwamazon.comWVac-Concept- Selected-Tantras-Oriental/dp/8170303435). Albany: State University of New York Press. Pandey, Kanti Chandra. 1963, Abhinavagupta: An Historical and Philosophical Study (xttp:wwwexoticindiaart.com/book/detllsjabhinavagupta-historical-and-philosophical-study-most-comprehensive-book-ever-published- on-abhinavagupta-IDES79). Chowkhamba Sanskrit Studies. Chowkhambe Sanskrit Series Office; Enlarged 2nd edition, Pandita, Balajinnatha, 1989, History of Kashmir Shaivism (nttpwrww goodreads com/author/show/1154500.Ralajinnaths,Pandita). Utpal Publications, 1973. Kasra Saiva-Darsana (htips:iiwwo.worldcat orgtileykasmira-saiva-darsanajocle/69323300). Jammu: $F Ranavira Kendra Samsketa Valyapitha, Rastogi Navjivan. 2013. “Quintessentalty of Camatkara in Rasa Experience: RevistingAbhinavagupta (Ghtp:itwwew biblio.com/book/abhinava-perspectives-abhinavagupta-studies-memory Kc/d/850639643? aid Fgcutm_source-google&utm_medium=product&utm_campaign-feed-details&gelid=CjOKEQiA fyOBRCWwiLAQS {FgpwHEIQA8#4sOYagLwi]MyCnNypOy6Hdd7KN4hathOrgdrSMWONZ.kaAgFbSPSHAQ).” In Navjivan Rastogi and Meera Rastogi, eds Abhinava: Perspectives on Abhinavagupta, Studies in Memory of KC. Pandey on his Centenary @elhi: Munshiram Manoharlal): 429-453. 1987. introduction to the Tantraloka (etp:} wv. worldcat orgiitleintroduction-to-the-tantraloka-a-study in Sructurefocl/t 7392717). New Delhi: Motilal Banarsidass. Ratié sabelle. 2011. Le Soi et PAutre, Identitédifférence et altérité dans la philosophie de a Pratyabhina Qucpisiwwwbril.come-soL-et. autre). Leiden-Boston: Brill 2006, “La Mémoire et le Soi dans Mévarapratyabhij {006-9001-2upage-1)” Indo-Iranian journal 49 (1-2: 38-103 vimarsini d’Abhinavagupta (http/ink springer. comartcle/10.1007%2FS10783- pina sutrajournal coma thousand. yoars-of-abhinavagupta-by joey licko 792uow2017 ‘A Thousand Years of Abhinavagupla’ by Jefe Licke Sanderson, Alexis. 2005, “A Commentary on the Opening Verses ofthe Tantraséra of Abhinavagupta.” (http:/twwew-alexissanderson.com/uploads(6/27/6/6276908)sanderson_2005a_tantrasara.pdf)in Sadananda Das & Ernst Flinger, eds. ‘Semarasya: Studies in Indian Arts, Philosophy, and Interreligious Disigoue (Delhi: DK Printworid): 89-148, 1988, “Saivism and the Tanare Traditions (http/wwwalexissanderson,com/uploads(6j27/6)6276908 InStewart sutherland, ed, The Worlds Religions (London: Routledge): 660-704. mnderson_1988 saivism pa)” ___-1986. “Mandala and Agamie Identity in the Trika of Kashmir. Gitep:inewwcalexissanderson.com/uploads(6/27/6/6276908/sanderson_1986_mandala.pafy” In André Padoux, ed, Mantras e Diagrammes Rituelles dans !indouisme (Paris: Editions du Centre National de la Recherche Scientifique): 169-214, 1985. “Parity and Power among the Brahmans of Kashmir.” Giep:inwwew.alexissanderson.com/uploads(6/27/6/6276908/sanderson_1985,paf) In M. Carrithers,, Collins &S. Lukes. eds,, The Category of the Person: Anthrapology, Philosophy, History (Cambridge: Cambridge University Press): 190-216. Sastri, Mukunda Ram, ed. 1982. The Tantrasdra of Abhinavaguptathttpjicatalog hathitrustorgjRecora/100159656). Kashmir Series of ‘Texts and Studies, no. 17. Reprint; Delh: Bani Prakashan. Shastri, Madhusudan Kaul, ed. 1987. The lévarapratyabhijaavivrlvimarsint by Abhinavagupta (http:itwww.worldeat orgtitleisvarapratyabhijnavivrtvimarsinifocl(768143785) 3 vols. Kashmir Series of Tests and Studies. Reprint, Delhi: Akay Book Corporation Singh, Jaideva, ed. and trans. 1989, A Trident of Wisdom: Translation of Parauniks - Vivarana (utpsfbv0ks.google.com/books? WkEQKSF4C&printsec=frontcoverddq-inauthor-%22}aideva-Singh®6228hl=en8sa-XAved=OahUKEw|WylqZhLtKANWFDSYKHRICHIQS, Albany: State University of New York Press, ‘kore, Kerry Martin, 2013, “The Bodily EMlorescence of Words: The Crossing of Divine-Voice and the Body-Selfin Abhinavagupta's Cosmology (htp:www.uky-edu/Centers/Asia/SECAAS/Seras/2013)5skoralmagining pdf)" In Southeast Review of Asian Studies (SERAS), Volume 25, 70-88. Silburn, Lilian. 1988, Kupdlalint nergy of the Depths (http:}www.arvazon.com/Kundalini-Comprehensive-Seriptures Nondualistic- ‘Traditions/dp/0887068014) Albany: State University of New York Press Subramania Iyer, K.A. and K.C. Pandey, eds. 1986. Bhaskar’ lsvarapratyabhijnavimarsin' of Abhinavagupta with commentary by ‘Bhaskar, (attpsfbooks google.corvbooks 1d-040205ns_ HUCKpg=PT1&pg=PT1&dq-Bhaskar+ (@HCASGAANCSW9Rvarapratyabhij%6C39%HT%C4%EI vimaTIeCSNOBINCHGAB “of Abhinavagupta-withtcommentary*by BNWCA%SIskara}Rso ‘RzeCO&Itenkssa-XAwed-OahUKEwid6s7VhLrKANXLTIYKHR]4CpgQ6AEIIZACHV-onepage&q-Bhaskar‘%20(%C4%AA%CS%9Bvarapratyabhijs Vols. 1-2. Reprint, Delhi: Motilal Banarsidass. ‘Timalsina, Sthaneshwar. 2007, "Metaphor, Rasa, and Dhvané Suggested Meaning in Tantric Fsotericism (utp:fbooksandjournals.brillonline.com/contentjjournals/10,1163/157006807x224404)." Method and Theory in the Study of Religion 19 34-162. ‘Torela, Raffaele, ed. and trans. 2013. The lvarapratyabhijakarike of Uipaladeva withthe Author's iti (Ghtp:ineww.orldeat orgttleisvarapratyabhijnakarika-of-utpaladeva-with-the-authors-vrti-critical-edition-and-annotated- translation{ocle)901624845?referer=di&ht-edition) Delhi: Motilal Banarsidass Publishers, Private Limited. ‘Tripathi, Ramasagara, ed. 1975-1981. Dhvanyaloka of Anandavardhana withthe Locana of Abhinavagupra (Ghups:searchworks stanford eduview/3767851). 3 vols. Delhi: Motilal Banarsidass. Vasudeva, Somananda. 2004. The Yoga of the Malinvijayottaratantra: Critical Text, Translation and Notes. (https/link springer-com/artile/10-1007%2"s10783-007-8032-8¥page-t) Collection Indologic. Institut Francais De Pondichery Ecole Francaise D'Extreme-Orlent Wallis, Christopher. 2007. "The Descent of Power: Possession, Mysticism, and Initlation in the Saiva Theology of abhinavagupta, (http: ink springer-com/artile/10.1007%2Fs10781-007-9021-9)." In Journal of Indian Philosophy, Volume 36, Issue 2, 247-295, White, David Gordon. 2006. Kiss ofthe Yoginn Tantric “Sex” in its Asian Contexts (nttpstwwew:press.uchicago.edu/uep/books/bookichicagork?b03617827 him). University of Chicago Press. Footnotes [1] That such a claim resounds with potential solipsistic delusion i a danger of which Abhinavagupta himself was quite aware. In his writings he frequently distinguished between a lower level of awareness and a higher, perfected awareness in which ego is subsumed {nto the transcendent bliss of God, which Abhinavagupta termed the Supreme Lord (Paramarthaséra 59.66). {2} This bibliography is meant to provide an introduction to the top scholarship on Abhinavagupta around the world. Ifthere are authors ‘or works not in this bibliography that should be present, apologize. The authors and works listed represent the primary influences in my pina sutrajournal coma thousand. yoars-of-abhinavagupta-by joey licko a92ina2017 ‘A Thousand Years of Abhinavagupla’ by Jefe Licke [PisrayS. Like) by Jeffrey S. Lidke stow ey 8.09 Bie Flow @SutraJoura htps:witecomySutraJeural) > gowatlconnto January 20 fanuay 28) 2 got acomante sy 20 Get the One and Only Sutra Journal Newsletter Sian Up Cont tpswiutjcurelcemeaniad) Ou Puts tpNanesuryoumaleamcursiepose) Tam hash sursauraarinnee-t) Intpswairypuralzomiscrnjeumalimegarne) Faceboce Pape hoaamu aceboctcomraramap) (rtosmwunesutajurnatcon) ‘22016 A Rgh Reserves by Subs ould Respective Aur Donal, pina sutrajournal coma thousand. yoars-of-abhinavagupta-by joey licko