The need for a Lalla Ded
Lexicon
By Prof. M.L.
Koul
'To do philosophy is to explore one's own
temperament, yet at the same time to attempt to
discover the truth'--Iris Murdok
The very core of Lalla Ded is philosophical and
that is why she captures our imagination and
tugs at our heart-strings. Her vaakhs are
so compact and perfect that it is absolutely
futile to better them in any manner. The entire
repository of vaakhs as preserved
through generations by our ancestors is a
civilisational legacy. Now a time has come that
her word reflective of her lofty legacy is under
a vicious onslaught. Lalla Ded's word was not
just a fluke, but, it, in fact, climaxed the
entire tradition of thought-process and
aesthetics that was formed, and perpetuated
through generations. As an heir to the entire
corpus of philosophy and aesthetics she had full
awareness of objectifying her experiences, lived
and felt, through a word, apt and suitably
contextualised.
Poetry (kavya)
as defined by the Kashmiri aesthetes was
word and meaning (shabadarthav kavyum)
which eventually evolved as the combination
of word and meaning (shabadarthav sahitav
kavyam) at the hands of a host of
aesthetes. The very word, sahit, during
an evolutionary process in aesthetics, came to
be the source of the word, sahitya
(literature) in the domain of Indian aesthetics.
Lalla Ded as
revealed by her vaakhs was an immaculate
scholar of language, both Sanskrit and Kashmiri
(desh bhasha) . As a word-smith she has
deftly used apt words to depict her spiritual
experiences and yearnings. It is the word that
explains her indigenous roots and unbreakable
linkages with the civilisational impulse of the
land she was born in. Her word is enriching not
only 'intellectually and spiritually, but also
geographically'. Force and verve of her
exceptionally rare word’ caused a fright in the
mind of Sufi colonisers who resorted to
'medieval forgery' to distort and impale her
word. It is Lalla Ded's word that speaks for her
splashes of creativity. It is, again, the word
that neatly reveals her philosophical culture
and spiritual zest andcredo.
To preserve and
perpetuate the invaluable legacy of Lalla Ded I
am attempting to prepare a sort of Lalla Ded-lexicon
(kosha) with a view to making her
vaakhs more intelligible to Lalla Ded
lovers and keeping the rootless and deracinated
intellectuals and their proteges away from
rabidly interfering with the word of Lalla Ded.
Word: Shiva
a) One who cuts
away sins
Shyati papam iti
shiva
b) One who
illumines/reveals the universe vasati, to shine
c) One who
removes the sleep of ignorance
'sin, to sleep
or to dream
Shanker:
One who does
good to devotees and mankind at large sham
karoti iti shankerah
Shakti:
The whole
univese lies indistinguishably submerged in the
consciousness of Shiva. When He wills to see
what is in Him, He is Shakti. Absolute freedom (svatantrya)
of Shiva to create is Shakti. In transcendence
Shiva is 'bodh', Janan, knowledge.
In immanence He is Shakti. There is hardly any
object in the world/universe that does not
emanate from the consciousness of Shiva. In
Kashmir Shaivism Shiva is an absolute non-dual
reality. When we speak of Shiva, Shakti is
automatically presumed. If Shakti is referred
to, Shiva is pre-supposed. Shiva devoid of
freedom to create is a dead body. "Shiva
shakti bina shavah'.
Parmarth Sar of
Bhagvan Abhinavgupta
puts---
Iccha-Jnan-Kriyashakti Svabhavam eva, n....
shakti
Virhitam
Jadakalpam, anyat cha anant shakti paripurnam.
Prakash:
Shiva in
essence is beyond the world/universe. In this
state He is prakash, pure jnan,
knowledge or bodh. Prakash is His
svarup, intrinsic reality. In
Vedanta it is called 'kutastha rupa',
the fundamental nature of Brahman. Every
object that we see around us shines in the
prakash, luminosity of Shiva's consciousness.
Vimarsh:
Shiva is
prakash, no doubt; but He knows that He is
prakash. His knowledge about His luminosity (prakash)
is vimarsha. Khemraja in his work
Parapreveshika puts. ‘If Shiva were merely
prakash, not also vimarsha, He would be totally
inert and powerless. It can simply be put that
if prakash is transcendental Shiva, Vimarsha is
His Shakti or immanence in all that exists.
Vimarsha can also be called I-consciousness of
Shiva. It is because of this I-consciousness
that Shiva manifests the world/universe which
otherwise lies diluted in His consciousness.
Etymologically
vimarsh is formed by the prefix vi + mrsh
(root).
Chita :
It is the
limited form of Chiti, which is
consciousness supreme. Chita is mind that is
constituted by buddhi, aham and manas.
As per an eminent Shaiva exponent named
Bhasker, Chita and manas are synonymous. Chita
is equated with an individual self called anu,
pashu or atma. It is atma,
an individual self, as it ‘moves on
incessantly to different varieties of existence
by sticking to rajas, tamas and
sattvas'. Chita serves as a source to feel,
think and cognise the Highest Reality, Shiva or
Maheshvar.
Chetyate Vimrishyate anena parmam tatvam iti
chitam.
Manas:
Manas is the
same as
chita.
It is the mind that is replete with various
forms of desires and thought-const-ructs. If it
is set to look within, it becomes a mantra. If
it is directed to outward objects in the world,
it becomes messy with sankalpas and
vikalpas (thought-currents). Lexically
samkalpa and vikalpala of manas is
termed as 'manas vyapar', mind's
activity.
manyate budhyate
anena iti manah/mansah
Vijnanbhairava
conveys--
manasam chetna
shakti atma chetya chatushtayam,
yada priye parikshanam tada tad bhairavam vapu !
Guru:
He is the
spiritual director. He teaches the highest truth
to his disciples. He initiates them through a
mantra. He also ferries them across the ocean of
nagging doubts and misunderstandings He bestows
them with his grace (shaktipat). A guru is a
perfect soul, a Shiva, with a heightened sense
of aesthetics. He initiates a pupil, but does
not impose himself on his psycho-physical
personalty. He develops him as a free being
after the model of Shiva.
Mantra:
It is the
divine power clothed in sound. A guru initiates
his pupil through a mantra, which is replete
with energy and force. A mantra is to be
meditated upon to achieve a spiritual destiny.
An aspirant identifies himself with the deity
that is invoked in the mantra. After meditating
upon it, he becomes the mantra. To realise the
potency of a mantra, a seeker has to have
initiative and self-will. The Vedic rishis were
'mantra drshtara'.
Etymologically,
mantra is formed with man + suffix tran and is
explained as 'man-nat trayte iti mantra'.
Akula:
It is a
lexical word drawn from the Agamas. The kashmiri
Shaivites have accepted the word with its
meaning to buttress their concept of Shiva as a
non-dual absolute. Akula is Shiva
in transcendence. He is akula
because He has no kula and has not
manifested the world/universe from him own
essence.
Kula:
Kula
is
Shakti, Shiva's immanence in all that exists in
the world. Akula is subtle, kula is gross. it is
gross as akula manifests itself in
gross objects of the world/universe.
Bhasker Roy, an
authority on the Tantras puts-
kulam
shakti iti
prokhtam, akulam shiva uchyate,
kulakula sambandah kaulam iti abhideeyate
!
Kularnava Tantra
reiterates the same thesis about akula
and kula akulam Shivah iti
ukhtam, kulam shakti prakitite
kulakul
anusandhane nipunah kaulika priye
Shunya:
Shunya
is a
word drawn from the Buddhist texts. In fact,
Nagarjun built a whole philosophical thesis on
shuniya, which in translation means void or
emptiness. In Kashmir Shaivism the word was
accepted, but, was invested with a new meaning.
The word shunya in meaning is 'abhava'
which becomes 'bhava' if prefix 'a' is deleted.
'a' stands for Shiva and many other names
typifying Shiva. 'pabhava' stands for
objects in the world/universe. So, Shuniya, to
Lalla Ded, is the state of consciousness of
Shiva in which the world of objects lies merged
in an unmanifest form. Such a concept of shunya
is positive as against its negative shade of
meaning that the Buddhists conveyed through it.
A quote from a Shaiva text conveys -
ashyuyam shunyam
iti ukhtam shunyatcha abhava ishyate
abhava satu vijneyo yatra bhava layam gata !
Nad & Bindu:
The
two lexical terms having their origins in the
Agamas are vital to the understanding of Lalla
Ded as a poetess wedded to the Shaiva thought.
Bindu is perfect, luminous, eternal and
metaphysical locus in consciousness supreme.
Nada is the expansion (visfar) of Bindu
to mainfest that what lies submerged in Bindu.
Bindu is prakash (I-uminosity) and Nada is
vimarsha (I-consciousness). Bindu has layers of
expansion, prasar or visfar from a kala, also
called Chita-kala, to anand shakti (aa), Iccha
shakti (e,e,), Jnan shakti (u,u) and
kriya-shakti (re-ow). As the locus of central
luminous and perfect consciousness Bindu has
eight layers of outward expansion. It has to be
understood that the expansion happens inside the
consciousness supreme, not outside it.
In the words of
Prof. Nila Kanth Gurtuprakash at
the level of chiti is Bindu and
prakash at the level of
chita
is Nada.
Oum :
Lalla Ded as
an initiated Shaivite has alluded to oum as a
bija-mantra. To her, oum &
aham as two bija-mantras have the same
import. In a particular vaakh she has
used the word 'anahat' in place of oum
or pranav, a vedic mantra. Anahat, to
her, is not the fourth station in the process of
awakening the kundalini that as per yogic
texts lies coiled up in a state of sleep at
muladhaar'. Anhat, to her, is the same as
Bnidu and Nada. It is 'pranav', an
enternal, unhindered sound, oum. This
very 'pranav' when in a state of unity with
consciousness supreme or Shiva is Bindu and when
in expansion, visfar, for outward emanation is
Nada. The entire word-hoard from a to h when
lying in total submergence in consciousness
supreme (chiti) is Bindu, but its evolution
through various stages of para vaak, pashyanti,
madhyama and vaikhuri is Nada. Bindu, therefore,
is the locus of both expansion and assimilation
(samaahaar).
Mudra:
Literally,
the word mudra means disposition of various
limbs of human body in particular shapes. Lalla
Ded has used the word in a spiritual sense.
Well-versed in the Shaiva-texts she was aware of
khecari mudra that denotes a
psycho-physical posture enabling a seeker to
move about in absolute freedom in the skies of
consciousness. In the Agamic texts mudra has
been explained in various ways. Mudra is that
which gives joy (mudam dadati). Mudra,
again, is that which removes bondage (bandhan)
(mum dravyati), Khechari mudra is a name for
Shiva. It explains his condition. Lalla Ded has
referred to 'chopimudri', which is
the condition of Buddha. The disposition of
silence is a type of yoga mainly practised by
the Buddhists and some Hindu Hath-Yogis. As
Lalla Ded did not subscribe to Hathyoga, she
pours out that one cannot enter Shiva's
consciousness through the disposition of silence
(chopi mudri).
Anamya:
The Lord
Shiva in His inherent nature (svabhava) is
beyond the objective world/univese. But, He has
a natural tendency to manifest the objective
world/univese that lies submerged in Him. The
equipoise between His transcendence and tendency
to manifest (shakti) is what is called anamya or
niramaya. In this condition of Shiva all objects
(bhavas) are beyond the limitations of time and
space (desh and kaal) and lie in absolute
identity with Shiva's consciousness only in the
form of impressions or images.
In the words of Prof Nila Kanth
Gurtu anamaya is the luminosity of
all-pervading, transcendental and ever-shining
consciousness of Shiva wherein I-consciousness
(vimarsh) is embedded.
Pratyabhijjna - It is a lexical word in
Kashmir Shaivism. Drawn from the Buddhist
scriptures and philosophies Kashmiri Shaivites
invested it with a new layer of philosophical
meaning. Pratyabhijjna is the metaphor of the
theoretical frame of Kashmir Shaivism and
spanda as expounded by Bhatta Kallat, is the
practical aspect of the theory of Shaivism. In
absolute concordance with the six systems of
Indian philosophy, Kashmir Shaivism too has
delineated its position on moksa, liberation
from bondage. The word moksa though often used
by the Shaivites connotes and denotes
Pratyabhijjna which means to recognise one's
essence as Shiv. As an absolute free being Shiva
assumes a limitation through his own potency
called as Maya Shakti and is reduced to the
position of a Jiva. He forgets His essentiality
as a transcendental being and assumes the form
and role of a Jiva. Pratyabhijjan is to
recognise the essential nature of Shiva. As
stipulated by Bhagvan Abhinavgupta moksa is
neither on earth, nor is it ascension into
heavens. It is just to burst the meshes of
ignorance caused by three dirts (malas)
of anavamal, karma mal and mayiya mal and
cognise one's unlimited potencies. Phrased as
'svarup prathnam' Pratyabhijjna is
revelation of the intrinsic nature of a Jiva.
Moksa in terms of Pratybhijjna is 'sva-shakti
abhivyakhta' which means expression of one's
intrinsic potencies or powers.
In Kashmiri language Pratyabhijjna is 'paan
praznavun', to cognise one's essential
essence as Shiva. As a lexical term it finds
mention by all the poets who are in the line of
Lalla Ded tradition or have swerved away from it
as a result of 'dislocated sensibility'.
Jivan-mukhta-It
is an expression that Lalla Ded has often used
in her inspiring and mesmerising vaakhs.
Come to her from Shaivism she always explains
and expresses it in the same tenor.
Jivan-mukti is an ideal with the Shaivites,
who are keen to attain moksa, liberation in the
sense of self-recognition (atma Pratyabhijjna)
while living in the world. A man normally
attains moksa, liberation at the moment of death
as he ceases to get enmeshed in the worldly acts
which burden him with morality or immorality of
performed acts. But, attainment of moksa while
in life is a state of perfection in which a man
is absolutely free to will, and act. He is
enlightened and has absolute oneness with Shiva.
To attain moksa while in life is the climaxing
of the trajectories that shaivites act out as
devotees or seekers either independently or
under the aegis of a Shiva-guru. Jivanmukhti
is a state of perfection in which a Jiva is a
Shiva. He does not carry any burden of
limitations that would inhibit or restrict his
freedom. He is in the world and the world is in
him. He lives his life as a free being and
commits himself to the cause of awakening others
to attain Jivan-mukhti. He could have
died, but does not die because of his avowed
commitment to awaken his fellow-beings to
auhtenticate their lives through realisation of
their essential svarup as Shiva.
As a Jivan-mukta, Lalla Ded had destroyed all
her karmas and ceased to accumulate
karmas the fruit of which otherwise she had to
bear. She had freed herself from the rotating
wheel of life and death and had attained the
status of an immortal. From the status of
Shaivayogini Lalla Ded came to be known and
recognised as Lalla-the Immortal.
Krai-It
is the Kashmiri version of kriya, a word
in Sanskrit. It means an act that is both
elevating and ennobling. It is not karam
that a Jiva performs in routine life the fruit
of which is to be borne at all costs and under
all circumstances. The distinction between
kriya and karam has to be understood for
fuller comprehension of Lalla Ded vaakhs.
As per Kashmir Shaivism, Shiv is an active
agent, a doer who performs five acts (panch
kritya) of Srshti, sithiti, samhar,
pidhan and anugrah. He is not inert like
Brahman of the Shankar vedant. He acts and
His actions are termed as 'kriya'. A Jiva
who in essence is Shiva only also acts to exist
and live in the world. As his actions are
limited in scope and extent, so they are termed
as 'karam'. Krai, therefore, is not a
limited action but a free act that is elevating
and ennobling. The essence of krai is
Shiva and His elevating consciousness.
Nund Rishi who is in the line of Lala Ded
tradition carries the word krai bearing
the same imprint of Shiva as an active agent.
Unaware of its core meaning the Islamists of
foreign origins and their local proxies have
not succeeded in cleansing his shrukhs (slokas)
of the word 'krai' rich with indigenous
semantics.
Nagai Nachun -
It is an expression of sheer ecstasy which has
been an issue of debate among genuine Lalla Ded
scholars. The guys who have pawned their souls
to the foreign Sayyid-sufis have misused it as a
source to the myth that Lalla Ded roamed about
naked through the main -fares of her native
place.
One can glean from her vaakhs that Lalla
Ded was not a hatha-yogini and
moderation, a golden-mean in Aristotelian
terminology, was a prized value with her. The
life of a recluse had not charmed her. Denial of
essentials to maintain her body was not an
igredient of her world-view. She was more than
aware of the efficacy of human body as the
source-material to the attainment of
atma-pratyabhijjna, self-recognition as
Shiva. The Shaivite perspective of human body as
a miniature form of the entire cosmos was what
moulded her whole course of Shaiva-Yoga praxes.
Lall Ded's philosophy of moderation gains
prominence when she unequivocally exhorts all
the un-initiates to clothe themselves soasto
keep cold away from harming their bodies
and also to have such food as satiates their
appetite. In the light of this philosophy it is
in no way pertinent to explain and construe 'nangai
nachun' as dancing or roaming about naked.
In Indian aesthetics there are three layers of
meaning a word can have. The indicative meaning,
abhidha-arth, of ' nangai nachun'
is absolutely crude and does not concur with the
philosophy that Lalla Ded was wedded to . It
fails to convey her emotion, determining her
psycho-physical behaviour. The second layer of
meaning called lakhshanic arth too does
not convey her real emotion. The third layer of
meaning 'dhvanyatmac arth', translated as
suggestive meaning alone establishes it as an
expression of extreme joy or ecstasy as a
response to the key that her guru introduces to
her for attainment of identity with Shiva.
Pran and apan -
We as humans exhale and inhale. It is happening
involuntarily. Life depends on this process of
breathing out and breathing in. In Shaiva-Yoga
we have been given an astral body (yogic body)
which is not the same body that is defined in
physiology. As per the Shaiva-Yoga texts air
that we breathe out is called pran and air that
we breathe in is known as apan. Pran,
actually called pran-vayu, emerges from
hridai, heart (not the actual human
heart) and stops at bahya-dvadashant.
Apan, lexically called apan-vayu, emerges
at bahya-dvadashant and stops at
hridai, heart. The entire process of
breathing out and breathing in is connected with
two nerves called Ida and
pingla, one on the left side and the
other on the right side of Sushumna-nadi,
lexically known as madhya-dam in
Shaiva-yoga. It is called madya-dam
for it is soaked in Shiva's luminosity. Pran
and apan though to be cultivated assiduously
through pranayam are of little value in matters
of attaining moksa, liberation. In Shaiva-yoga
both the vayus are supposed to bind a man to the
meshes of ignorance because of their tendency to
flow outwards. But, the other two airs (vayus)
called udan and vyan to be
cultivated through diligent practice liberate a
man from primal ignorance. Air that is breathed
out (pran) is usually hot and air that is
breathed in (apan) is generally cool. In Lalla
Ded vaakhs pran has been
described as hot and apan as cool and their
nexus with madhya-dam has been vitally
important or gaining moksa, liberation
from birth and death.
Abhyas -
It is a Sanskrit word that denotes regular
practice. Breathing out and breathing in is a
practice that a seeker has to repeat at a
regular pace. Such a practice known as
pran-abhyas removes the dis-balance or conflict
called ksobha between the two airs (vayus)
of pran and apan. Through pran-abhyas the
two airs (vayus), pran and apan,
enter sushmana-nadi (madhya dam)
via muladhar and move upwards in the
direction of udan resulting in
pacification of all manner of conflicts. In such
a yogic condition pristine powers of mind (chita)
get awakened. Pavan, a Sanskrit word, meaning
air denotes pran-vayu and apan-vayu
in the Shaiva-Yoga lexicon.
Sagun -
It means anything that has a form or an
attribute. 'Nirgun' is its antonym. In
the domain of Hindi poetry Lord Ram and Lord
Krishna are the themes of Tulsidas and Surdas,
who belonged to the sagun branch of
Bhakti (devotional) poetry. But, in Shaiva-Yoga,
the word sagun carries a different shade
of meaning. It refers to the world that Shiva
manifests from the screen of His own
consciousness without using any materials
external to Him. Sagun is Shiva's shakti
and His Shakti is manifestation of all that we
perceive in the world. Sagun, in other
words, is immanence of Shiva in the world of
objects (neel, peet etc).
Shya van -
Most of the commentators of Lalla Ded Vaakhs
have explained 'shya van' as 'six
forests' meaning as six chakras or Shakti
chakras as mentioned in Patanjali's Yoga-sutra.
But the word 'van' in terms of philology
is derived from Sanskrit word 'advan',
which means a path.
As available in the Shaivite texts six paths
are mantra, vama, pada, kala, tattava and
bhuvan. An aspirant seeking ascension is
required to traverse through them for attainment
of identity with Shiva. Bhagvan Abhinavgupta has
delineated incisive details about each path
including the methodology for traversing it. As
a Jiva, seeking the original abode of Shiva an
aspirant has to ascend through each path, one
after the other. Lexically called 'aaroha',
this rise in step by step manner enables an
aspirant to grasp the intrinsic nature of all
the thirty-six tattvas (elements) that
constitute the world that is perceptible and
felt. Realisation also dawns on him that Shiva
is immanent in all the tattvas (elements) that
form the architecture of the world.
Panch, dah ta kah -
Strange meanings have been attributed to the
lexical terms of panch, dah ta kah by
ignoramuses who are on a mission to distort and
misconstrue the indigenous content of Lalla Ded.
Some have interpreted it as the prevalence of
many faiths and sects in conflict with one
another, while many others have distorted their
meanings only to suit their fanciful imaginings.
Panch (five) refers to five mahabhutas
that are the principal and basic constituents of
the whole universe. These five mahabhutas are
earth, water, fire, wind and space. All tomes of
the Indian philosophy from Rigeveda to the
modern writings make a mention of five
mahabhutas.
Dah (ten) refers to five karam-indriyani
(motor senses) and five Jnan-indriyani
(cognitive senses). Five karam-indriyani
are upastha, payu, pada, hasta, and
vak. Five jnan-indriyani are gran,
rasana, darshan, sparsa, and shrvan.
Kah (eleven)
signifies five motor senses and five cognitive
senses and antahkaran generally
translated as mental perception. Antahkaran is
taken as only one sense though it constitutes
man, buddhi and ahankar.
Ada kyazi ravihe kahan gava
-
Lalla Ded has used cow as a metaphor of 'atma
pratyabhijjna', self-recognition, which she
pursued as her spiritual destiny. Kah
(eleven) as a collection of all human senses are
required to be harnessed and focused to realise
the destination. Kashmir Shaivism has lent
absolute credence to human body as a vehicle to
the attainment of self-recognition. It is
defined as a miniature form of the entire
cosmos. An aspirant, therefore, has to cultivate
his senses, not by suppression, but by
sublimation so that he concentrates them to
achieve the higher ends of spirituality. Eyes
have to be withdrawn from outside world of
objects to deepen the gaze within. Mind (man) as
a constituent of mental perception has to be
pacified with a view to ridding it of conflicts
and raging mental activities. The united action
of all senses that a human body is invested with
is vitally critical to the unfoldment or
expansion of inner self. At a particular stage
of her quest Lalla Ded woefully lamented that
her wayward senses had ravaged her body. Had
they all focused and acted unitedly she would
have realised her spiritual destination. Her
success in stringing the human senses into a
bond of unity made her spiritual destiny
realisable. The Indian scriptures describe human
body as 'brahma mandir' (God's temple). A
verse from Kalidasa highlights the vital
importance of human body in matters of
spirituality. The verse reads -
api sva-shakhtya tapsi pravartate,
shareeram adhyam khalu dharam sadanam.
Sodur -
It is a Kashmiri word drawn from samudra
which is Sanskritic in its origins. Throughout
the Indian lore and learning world (bhava
or samsar) has been compared to an ocean.
Among many words samsar is the main word
for world which is defined as 'samsarti iti
samsarah' - world is that which moves on.
Sodur also is in constant, ripple and
motion. Hence the compound word 'samsar sagar'
or 'samsar-samudra' or 'bhava-sagar'.
Sodur
(ocean) either independently or in combination
with 'samsar' (world) typifies ocean of
ever-changing world and existence. Lalla Ded, an
Indian in thought and deed, is profoundly
conscious of the ever-changing nature of world
and existence at large. As a seeker she knows
that she is immersed in the transience of world
and existence and is keen on crossing the ocean
of world and get back to the original abode of
Shiva. That is why Lalla Ded says zuva
chum braman gara gacha ha'. 'Sadur' as a
huge expanse of water has a civilisational
connotation. It establishes that Lalla Ded was a
product of water-civilisation which she
perpetually breathed and assiduously perpetuated
and celebrated.
Sahaz -
Sahaz
is the Kashmiri version for sahaj which
is a word in Sanskritic word-hoard. Its
translation in English is 'natural'. A version
of Buddhism called sahaj-yani Buddhism'
has imbued the word 'sahaj' with
philosophical meanings. 'Sahaj'
represents the highest element that forms with
the conflation of ''prjna' and 'upaya'.
The concept of 'sahaj' has travelled
to Kashmir Shaivism and has been used as a
qualifying word with 'vidya', 'Ishvar, 'yoga'
and 'anand'. Hence in Shaivism we
have expressions like 'sahaj vidya', 'sahaj
Ishavar', sahaj yoga' and 'sahaj anand'
.
In the cluster of methodologies (upayas)
anupaya known as methodless-method has
been taken for pratyabhijjna. The Shaivite texts
describe it sahaj-upaya, a simple or
natural method. Sahaj has also been used
as a metaphor of Reality the detailed discussion
of which forms the warp and woof of Kashmir
Shaivism and all expressions of Indian thought.
Laya—The yoga-tattva-upanishad
has delineated four types of yoga-mantra-yoga,
laya-yoga, hatha-yoga and raj-yoga. Laya-Yoga as
a recognised form of yoga has found a mention in
almost all works on yoga. Lya-yoga
definitionally is concentration on a deity while
one is actively involved in the daily routine of
life. The Kashmri Shaivites equally accept laya-yoga
as a means to attain identity with Shiva. In
shaktopaya a seeker deems it an achievement if
he succeeds in dissolving his mind (man) in
chita. Layi-bhava as a lexical term conveys the
same dissolution of mind in chita. But, to a
highly accomplished seeker laya means immersion
of a jiva in shiva as consciousness supreme.
Jnan and ajnan—These two
terms have been used variously by all manner of
Indian philosophers. Jnan, simply speaking, has
two meanings, one is intellectual and the other
is spiritual. Intellectual knowledge as per the
shaivites of Kashmir does expand the
understanding horizons of a seeker. It is
incumbent on him to learn the use of logic and
analysis to have a thorough grasp of the
non-dual thesis of Kashmir Shaivism. The
said-philosophy has intricacies which need be
understood for sharpening of human intellect.
But, intellectual knowledge is not the end in
itself. It has to be tooled to achieve spiritual
knowledge which like all Indian thinkers the
Shaivite thinkers designate as real knowledge.
So, Jnan, to them, is spiritual in nature and
essence. They call it Shiva-Jnan and atma-jnan.
As Shiva and Jiva are of the same fibre and
weave, a jiva entrapped by three dirts (malas)
of anava-mal, karma-mal and mayiya-mal has to
realise his essential nature (svarup) through
Shiva-Jnan and atma-jnan.
The essential thesis of Kashmir Shaivism is
that Shiva through his absolute freedom (svatantrya)
forgets his essential nature to assume the form
of a jiva. Under the wraps of forgetfulness a
Jiva takes his not-self as his real self. It is
lexically called ajnan . It can be said that
false identity with human body and human ego is
a ajnan. But, the Shaivites never comprehend
ajnan as total absence of jnan. To them, ajnan
is mita-jnan, little knowledge or limited
knowledge. The concept of bondage they trace to
ajnan, limited knowledge. Bondage (bandhan) is
essentially for a jiva. Shiva is beyond any
taints of bondage (bandhan). As per the
shaivites ajnan is non-knowledge of one’s own
intrinsic nature (svarup).
Sham & dam—In Patanjali yoga and other works
on yoga sham and dam have been accepted as vital
parts of yoga-praxes. Sham means to wean one
self away from the worldly actions (karmas). Dam
means to control the breathing process (pran and
apan) which otherwise is involuntary. Patanjali
defines yoga as ‘‘yogash cha chit
vriti nirodah’. The yoga-practices
like sham & dam are in
concordance with the definition that Patanjali
has formulated about yoga. yoga, to him, is to
suppress (nirodaha) the innate and inborn urges,
tendencies and proclivities of a man. But, the
Kashmir Shaivites have moved away from the
Patanjalian explication of yoga and phrased yoga
as per their own conceptual frame. To them, yoga
definitionally is yogam ektavam
icchanti vastuno anyena vastuna
(unity of a thing (Jiva) with another thing
(Shiva). The word suppression, nirodha, is
replaced by unity, ektavam. The six-limbed
yoga-praxes of the Shaivites called
Shadanga yoga retains sham & dam,
but stand oriented to a new nuance of meaning.
Sham, therefore, is defined as to stay
put in a felt spiritual experience
after pacifying the worldly disturbances that
ravage a human mind, Dam is to sublimate the
breathing processes (pran and pan) with a view
to submerge them in madhya-dham where the heart
(hridai) lies.
In a vakh Lalla-Ded says that Shiva if He is
to be attained does not need sham &
dam (self-continence and
self-control). It is a clear-cut reference to
the suppressive techniques as envisaged in the
Patanjali yoga. She for one was groomed in the
Shaiva-techniques that are repugnant to
suppression and regression of what lies in the
nature of man as a living and existing being.
Chidanand—In Kashmir
Shaivism Chidanand (chit and anand) is the
essential nature of Shiva. Sat (being) is
presumed when Shiva is formulated as Chidanand.
As we have in Sankar vedant, sat-chit-anand is
the fundamental nature (kutasthasvarup) of
Brahman as an absolute. But in the Shaivite
structure of thought Shiva’s fundamental nature
(kutastha svarup) is chidanand only.
Chit (consciousness) and anand
(instinctive playfulness) are deemed as
two in number, but in actuality are mixed up as
milk and water. Lexically, chit and anand are
prakash (luminosity) and vimarsh
(I-consciousness). Shiva as Chita
(chitti) is beyond the physical
world, to put it properly He is transcendental.
But Shiva as anand is brimming with a deep sense
of I-consciousness. Anand is the creativity of
Shiva. The nuts and bolts of entire cosmos are
the expression of Shiva as anand. It is anand
that features Shiva as an absolute free being to
will, create, know and act. The five acts (pancha
kretya) that Shiva does is out of anand, His
playfulness or sportiveness. In Shaiva texts it
is expressed as ‘kreeda-vilas’.
Maha-vreties-oum bhur-bhuva-svaha—
The Gayatrimantra
begins with oum-bhur-bhuva-svaha. Its
origins lie in the vedas. As vedas have been
characterised as ‘plexus of ceremonies’, the
mantras like oum bhursvaha, oum
bhuva svaha and oum sva svaha are
resonantly pronounced during the offerings that
are made to the fire-god (agni). These three
mantras are known as maha-vreties.
But, the fourth maha-vrety is the
mantra of oum bhur-bhuva-sva svaha
which is uttered as one mantra in
the wake of the first three mantras that are
uttered during the course of a yajna. Having
their origins in the vedas, the Kashmiri
Shaivites have incorporated the four
maha-vreties in their thought structure, but
have oriented them to a new shade of semantics.
Khemraj as an erudite commentator on seminal
Shaiva texts writes that bhu refers to the world
of objects, bhuva to the means of knowledge and
svah to the humans, each as a subject. These
three maha-vreties refer to the manifested world
that Shiva creates out of His playfulness (anand).
In Shaiva terminology it is also called vimarsa.
The fourth maha-vrety of oum
bhur-bhuva-sva as one single
mantra alludes to transcendetal Shiva in whom
the first three maha-vreties remain diluted
indistinguishably. The first three maha-vreties
explain the world and can be lexically called
descent (avaroh) and the fourth one is Shiva in
which the world gets absorbed and can be
lexically called aroh (ascent).
Vakh—Vakh if
translated into English means a word that is
said. It belongs to the Sanskrit word-hoard.
Bhartrihari as a
reputed scholar of linguistics has given us the
concept of ‘shabad-brahma’
to which he traces the genesis of words formed
with the combination of letters in Sanskrit.
But, the Shaviites of Kashmir have given us a
theory about the genesis of word in concordance
with their thought imperatives. Shiva, to them,
is the absolute. The word prior to its
concretisation remains absolutely diluted in the
ocean of Shiva’s consciousness. But, His
consciousness has its own dynamics which is
lexically called vimarsa. The word at this level
is known as para-vakh. As the world emanates
from Shiva’s consciousness, word also emanates
from it only. The journey of the word starts
from para-vakh, comes to the level of pashyanti,
then to the level of madhyama and finally to the
level of vaikhuri. It is the descent of a word,
coming to the level of world where communication
and contact are established through it. A word
is a combination of letters from a to ksa. The
word-hoard from a to ksa as numerous energies of
para-vakh remain submerged in Shiva’s
consciousness. Their concretisation through the
process of descent is the same as manifestation
of the world from the dynamics of Shiva’s
consciousness. Says Abhinavgupta-Vakhti Vishvam
abhilapti pretyavmarsena iticha vakh
Mala—It is a Sanskrit word
meanging dirt or impuity. In Kashmir Shaivism it
is a lexical word having a special meaning.
Shiva as the highest subject has absolute
freedom to act. It is through the
instrumentality of mala,
His own creation, Shiva assumes the
form of a jiva, worldling with the limited
powers to will, know act and cogitate. As per
the Shaivites of Kashmir, mala
is the cause of ajnan (malam ajnanam
icchanti). A jiva is a bound animal (pasu)
because of the malas he is trapped in.
Mala is of three types, anav-mala, karma-mala
and mayiya-mala. Anav-mala is the limitation
caused by Shiva through His wilful act of losing
His absolute freedom and assuming forgetfulness
of His innate freedom. Shiva in His inherent
svarup (nature) can perform any act without any
let or hindrance and without any external
aid-materials. But, through His own divine will,
He loses His absolute freedom and gets
embroiled in the worldy acts of mean order. It
is called karma-mala. Through His own absolute
freedom Shiva emanates the unverse from His own
creative consciousness and is in absolute
harmony with what He creates or emanates. But,
because of mayiya-mala, He finds a dis-connect
with what he has manifested. This is called
mayiya-mala.
Malas are a limitation, in fact a plethora of
limitations, which Shiva assumes to take the
form of a jiva. For this, He has no motiviation,
He may do it or may not do it. But, he goes on
assuming the limitations to become a Jiva out of
His own playfulness (anand).
Kashmir Shaivism has made a mention of seven
pramatas (subjects) who are classified on the
basis of mala they are embroiled in.
Sakala, pralayakal and
vijnanakal have all the three impurities in
them. Mantra has two
malas only, mayiya-mala and anav-mala.
Mantreshvar and mantra-maheshvar have only one
mala and that is anav-mala. Shiva as the only
subject, despite His act of assuming impurities,
has no tanits or impurities that can inhibit His
absolute freedom. The value that Jivas trapped
in malas pursue is to remove the malas through
shaiva-yoga praxes and recognise their essence
as Shiva onlyand that is, jnan or atma-jnan.
Tantra—Kashmir Shaivism in
essentia has tantric foundations, but is not in
any manner repugnant to the vedic stream of
though, lore and learning. In the vedas tantra
as a word has been used as a loom (Rig veda and
Atharva_ved). The Mimansakas use the word in the
sense of a method for making or doing something.
A word like tantra-ukhti
denotes ‘principles’ or ‘expositions.
The word tantra is
also used for all types of works on subjects
relating sciences. The philosophical meaning
that the word tantra assumed refers to a
‘scripture that spreads knowledge’
tanyate vistaryate jnanam iti tantram.
At a later stage tantra got hyphenated
with mantra and came to be recognised as
knowledge realisable through practices.
Kashmir has a protracted history of writing
tantras, which could be classified as non-dual
tantras, dual-non-dual tantras and dual tantras.
With the strands of theoretical knowledge
scttered over the whole repository of tantras
the Kashmiri Shaivites wove their fabric of
non-dual philosophy and finessed it as a
thought-process through dexterous use of logic,
exposition and subtle analysis. Sixty-four in
number the non-dual tantras form the fundamental
blueprint of the thought-structure that emerged
from Kashmir the seeds of which were planted in
the soil of Kashmir from the same thought,
though of a different variety, flourishing in
South of India.
The principal trantras that the Kashmiri
Shaivites have commented upon and used them as
source-materials are
Shiva-sutra, Netra-tantra, vigjnan Bhairav,
Malini vijayotra tantra, paratrimshikha,
Rudra-yamaltantra, mregendra tantra, svacchand
tantra et al.
It is pertinent to put that tantras do not
present a thought process than can be construed
as a finished-product of thought. They contain
what we call as seed-ideas, which the Shaivite
thinkers used to fabricate a full-fledged
philosophical structure, which is well-knit,
fully cemented, delicate in details and
aesthetic in value.
In the words of Osho, ‘where yoga ends,
tantra begins. The highest peak of yoga is the
beginning of tantra and tantra leads you to the
ultimate goal’.
Sahasrar—It is the highest
cerebral region above the end of susumuna-nadi
and its filaments are red. On its pericarp is
hamsa and above it is Shiva himself. Above all
these are surya and candra mandalas. In the
candra-mandala is a dazzling triangle where
sixteenth kala of the moon resides. The
subtle-aspect of it is nirvan-kala within which
lives Shiva and Shakti as para-vindu. The Shakti
of para-bindu is called as nirvana-shakti which
is light and exists in the form of hamsa (Radra-yamal
tantra).
Shyashi-kala, Shyashi-rasa—After
a yogi explores his nadis (nerves), he awakens
his kundalini shakti at muladhar, which is
supposed to be seat of Shakti. He traverses
through the six-cakras or six-forests or six
paths and raises his inherent powers, which
otherwise lie in dormancy. Then he comes upon
the Shyashi-kala, candra-kata (digit of the mon)
residing in Sahasrar. A rasa, translated as
manna in English, oozes out from shyashi kala. A
yogi licks is up avidly which transports him
into a state of rapturous bliss. Licking up of
shyashi-rasa establishes the union of a yogi
with Shiva and unino is ultimate immersion in
Shiva’s ocean of consciousness.
Many Kashmiri poets very much in the line of
Lalla Ded tradition have frequently mentioned
the spiritual union which they might have in the
wake of the manna that they enjoyed as an oozing
from Shyashi-kala or Chandra-kala. Such poetry
of these poets has been wrongly designated as
‘sufi poetry’. Popularly nomenclatured as
shastra, the Muslim
poets followed the much-reverenced tradition of
Lalla Ded who had linkages with the indigenous
inheritance of bhakti (devotion) and philosophy
of Shaiva thought.
Brahma-randa—Its synonym is
brahma-bill. It is
situated at the upper part of Ajna-Cakra within
the centre of two eye-brows. A seeker seeking
self-recognition concentrates on it for direct
entry into sahasrar. The Kashmiri Shaivas hold
that brahma-randra is closed by the ‘egg of
shakti’ which among other eggs of maya, prakriti
and prithvi lies in a state of dilution in the
womb of Shiva’s consciousness. A seeker, who has
awakened his dormant powers through Shaiva yoga
praxes, can surmount the obstruction posed by
the ‘egg of shakti’ and enter sahasrar which as
per Shaiva stipulations is nothing but the
auspicious consiciousness of Shiva.
Jin—It is a Pali word with
its origins in ‘Jit’,
as a word in Sanskrit language. The root of the
word ‘Jit’ is
‘Ji’. It
is often used for Mahavir, the founder
of Jain dharam. It is also used for Buddha, the
founder of Buddhism. As Kashmir Shaivism has
accepted many seed-ideas and concepts from
Buddhism, the word ‘Jin’ as a lexical
word for Buddha stands splashed through many a
Shaiva-text. The word ‘Jin’. denotes
Buddha who has conquered his senses which are
eleven in number. The conquest of senses for any
seeker is a must as it is a prelude to the quest
within. Shiva, keshav, and kamalajnath (Brahma)
form the trinity and Lalla Ded has placed
Jin, the Buddha alongwith three gods of
Hindu pantheon, thereby raising the number to
four. As all these gods are the symbols of Param-Shiva’s
infinite powers, Lalla Ded in all politeness
prays to them to remove the sickness of the
world that has overwhelmed her whole being.
Semitic gods are jealous of one another, but the
Hindu gods have no such taint.
Anahat nad—A sound is
produced when two objects strike against each
other. A river or a brook that flows on produces
a sound. But, in a human body a sound is
produced involuntarily without striking against
anything. This is why it is named as anahat-nad.
It can be heard by a seeker who has diligently
trained his ears through shaiva-yoga practices.
In Tantraloka, Bhagwan Abhinavgupta has made a
mention of ten types of anahatnad. Bartrihari
sought its origins in the ‘shabad-brahma’.
But in Kashmir Shaivism its
origins lie in para-vakh, which during its
descent comes to the level of pashyanti,then to
madhyama and finally to vaikhuri. A seeker has
to withdraw his ears from sounds that are heard
in ojective world. He has to move up to the
level of madhyama and then to pashyanti. During
this inward journey he comes to realise the
softer aspect of sounds that are gross. Finally
he comes to the level of para-vakh which he has
to concentrate on. It leads him to Shiva’s
consciousness where all sounds lie submerged
without having any distinctiveness.
ajapa hamsa mantra—It is
directly related to pran and apan as breathing
out and breathing in.It is in the
madhya-nadi when pran vaya goes up
from the hriday
(heart) a sound like ‘ham’
is produced and when it returns from
dvadashant as apan-vayu, a sound like
‘sah’ is produced. A man lives
because of the breathing out and breathing in
processes. As this process goes on non-stop, he
is said to meditate on the mantra of
‘hamsa-hamsa’, meaning ‘I am
that’. A Jiva is called a hamsa
because he is ever busy in
breathing-out and breathing-in processes.
This ‘hamsa mantra’
is featured as ‘ajapa’, which
means that it is not meditated upon. At the
level of a Jiva the sounds of ‘ham’ & ‘sah’
are grossly uttered. But, in the processes
of inward journey the said-sounds lose their
grossness and get merged in the luminosity of
Shiva. So, in that case hamsa as mantra
is neither to be uttered nor is it meditated
upon. It becomes an indissoluble part of
consciousness supreme.
Source: Kashmir
Sentinel
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