Monday, March 23, 2015

Kashmir Shaivism

Kashmir Shaivism


 
piritual bliss is not like the intoxication of wine or that of riches, nor similar to union with the beloved. The manifestation of the light of consciousness is not like the ray of light from a lamp, sun or moon. When one frees oneself from accumulated multiplicity, the state of bliss is like that of putting down a burden; the manifestation of the Light is like the acquiring of a lost treasure, the domain of universal non-duality. -Abhinavgupta

“Kashmir Shaivism has penetrated into that living depth of thought where diverse currents of human wisdom united in a luminous synthesis." -Tagore

India has been the land of seers, saints, sages, savants and spiritual masters who delved deep into the mysteries of existence and enriched humanity with the fruit of their investigations. The Vedas, the Upanishads, the six systems of philosophy, the two great epics and the Puranas have molded the lives of millions down the ages.

In the northern Indian State of Jammu & Kashmir, the people in ancient times, like those in the rest of India, followed the religion of the Vedas to a large extent. However, during the reign of Ashoka the Great (304-232 B.C.E), Buddhism came to Kashmir and exerted its influence till the 8th century.

The Beginning

Soon after the death of the great Buddhist saint-scholar, Nagarjuna, a new religious philosophy, probably a fusion of ancient Vedic and Buddhist cultures, was evolved in Kashmir. The fundamentals of this indigenous system of philosophy are said to have been laid down by no less a person than Durvasa rishi himself during the Mahabharat times.


Mount Kailasa
Some scholars believe that Kashmir Shaivism originated near Kailasa in the Himalayas around 400 AD and its first teacher was none other than a disciple of sage Durvasa, Tryambakaditya. And it was the sixteenth descendant in the line of Tryambakaditya who settled in Kashmir Valley around 800 AD. His name was Sangmaditya whose fourth descendant, Somananda, finally extracted the principles of monistic Saiva philosophy from the scriptures and incorporated them in his famous work, Sivadrishti, regarded as the first philosophical treatise on Kashmir Shaivism. This thought reached perfection much later when it was refined by a galaxy of illumined sages like Vasugupta, Kallata, Utpaldeva and Abhinavgupta.

Siva Sutras
Obviously not content with the prevailing creed which did not recognize either any outside scriptural authority like the Vedas, or any Supreme Being called God, Vasugupta (850-900 A.D.), sought to perfect the new system of thought that changed the existing religious current and completely countered the nihilistic teachings of Buddhism. It almost happened about the same time when Sankaracharya had launched his vigorous campaign against Buddhism in the rest of India.

Legend has it that Vasugupta based his philosophy on the Siva Sutras which he found engraved on a big stone still identified as Shankar Pal at the eastern foot of the Mahadeva mountain, a few miles away from Harwan reservoir in Srinagar. These sutras contain the essence of Saivagamas, the authoritative scriptures of non-dual (advaita) Saivism, developed first by Vasugupta himself in his famous work ‘Spandakarika’.

Final Seal


Abhinavgupta
The final seal, as it were, was put on the efforts of his predecessors by an outstanding philosopher, mystic and scholar, Abhinavgupta (950-1020 AD) not only through his power of reasoning but also by his personal spiritual attainments, He classified Trika system into four broad groups-Pratyabhijna, Kula, Krama and Spanda. His most voluminous work in verse, Tantraloka (The light of Tantra), enumerates the Tantric Agamas and deals mainly with the three methods (upayas) of realizing the ultimate truth.

The earliest ancestor of Abhinavgupta was a famous Brahmin Saiva teacher, Attrigupta who lived outside Kashmir in Autarvedi, somewhere between the Ganga and the Yamuna. It was King Lalitaditya, the ruler of Kashmir (700-736 AD), who invited Attrigupta to Kashmir for good. Several generations after him, one of his descendants, Abhinavgupta, furthered the cause of Kashmir Saivism and wrote extensively on the basics of this philosophy.

A legend prevalent among Saivists in Kashmir, as narrated to me by my revered father, is that Abhinavgupta literally walked out of this mundane world alive with his 1200 disciples and entered the Bhairav cave in village Bhiruwa, all the while reciting the famous Siva hymn composed by himself--(Vyaaphta Charaachar Bhaava Vishesham Chinmayam Ekam Anantam Anaadim...)

During the middle ages, we had the great Shaivist, Rajanaka Shitkanth, also known as “Sidha Mol” who initiated the famed saint-poetess of Kashmir, Lalleshwari (1320-1392 AD), in spirituality and mysticism. Both Shitikanth and Lalla hailed from Pampore village in Kashmir Valley. In recent times, however, it was Saivacharya Swami Ram (1854-1915 AD) and his grand disciple, Swami Lakshman Joo (1907-1991) who popularized this philosophy throughout the world.

__ __
Lalleshwari _____________--_________Swami Ram __________________ Swami Lakshman Joo
Trika Shastra

Kashmir Shaivism is a religio-philosophical system which lays primary focus on the Ultimate Reality, absolute and pure, Paramashiva, and takes into account both His transcendental and immanent aspects. It describes consciousness of man as the Atman, the core eternal witness of all that undergoes ceaseless change in body and mind. It is a universal spiritual philosophy in which all aspects of life are integrated and taken in totality.

Since Shaivism treats the Absolute Truth under the three principles of God, Soul and Matter, the system is known as Trikashastra or simply Trika. This system, one can say, is based on the three energies of Lord Siva-Para, Parapara and Apara. While para is subjective energy of Lord Siva, Parapara, called as intermediate, is Siva's cognitive energy and Apara energy, known as inferior, is the objective energy of the Lord.

Philosophically, Trika Shastra represents a a positive and a theistic outlook in contrast to the absolute monism of Vedanta. Siva, according to this school, is the Ultimate Reality, abounds in bliss and consciousness and is endowed with sovereignty of will, omniscience and omnipotence. He is everything and yet beyond everything. He is both immanent and transcendent. Time, form and space do not limit him, for He is above all mutation and change.

Trika does not recognize any essential difference between the individual self, technically called the Pasu and the Universal self, the Pati. The 'Pasu' is no other than Siva Himself, but is in a state of limitation and self-forgetfulness. It has taken on three impurities (malas) which are responsible for obscuring his true nature, but when these get dissolved, he realizes the divine within him in its crystalline purity. In fact, while not advocating either escapism or the other worldliness, Saivism lays emphasis on the spiritual effort on the part of the Pasu to break the shackles of Maya and rise into the free and unfettered state of Pati or to use Utpaladeva’s own words “to break through the eggshell of the world formed of attachment and aversion and to grow wings so as to be able to become a denizen of the limitless space of consciousness.”

A mediating and a harmonizing sadhana, Trika sought to synthesize various aspects of the then prevalent philosophies like Advaita Vedanta, Vaishnavism, Sankhya, Nyaya, Yoga and even the Buddhist thought. It adopted monism from the non-dual philosophy of Sankara; theism from Vaishnavas; logic from Nyayists, discipline from Yoga aphorisms and popular appeal from the Buddhists.

Tattvas

While the two systems of Indian philosophy, Sankhya and Vedanta, regarded the universe as comprising of twenty-five tattvas (principles or categories), Saivism added eleven more, making the total of thirty-six tattvas The additional eleven categories provide a fuller vision of the Absolute, both in the descending and the ascending order. Going from Siva tattva down to prithvi tattva, we find the process of manifestation and the creation of the universe and in going the opposite way, we find the process of spiritual evolution culminating in Godhood.

Whereas many a thinker like Prof. T.M.P. Mahadevan talk about the process of evolution from the subtle to the gross, Swami Lakshman Joo, like Sri Aurobindo, believes in the theory of Ascent from gross to the subtle, from man to Superman. The sage of Ishaber explained the tattvas only in the rising way, saying "we must rise". So, he starts the list of categories with pancha mahabhootas. I have followed the same order. in this write-up

Tattvas are divided into three groups: Ashuddha, or impure, Shuddhashuddha, or pure-impure and Shudda, or pure. The impure tattvas are said to be the domain of objectivity and duality, the pure-impure tattvas the domain of knowledge and the pure tattvas the domain of transcendental unity.
Ashudha tattvas are: Five gross elements-Earth, Water, Fire, Air and Ether; Five subtle elements-Smell, Taste, Form, Touch and Sound; Five organs of cognition-Nose, Tongue, Eye, Skin and Ear; Five organs of action-Excretion organ, Sexual organ, Hand, Feet and Speech; Three internal organs-Mind, Intellect and Ego; and Prakriti (Matter).

Shudha-ashudha tattvas are: Purusha and the six kanchukas (Coverings)-Niyati (limitation of space); Kaala (limitation of time); Raaga (limitation of attachment); Vidya (limitation of knowledge); Kalaa (creativity) and Maya (illusion of individuality).

Shuddha tattvas are: Shuddha Vidya, Iswara, Sadasiva, Sakti and Siva.

Philosophical Nucleus


Lord S'iva
Siva, represented as the symbol of the eternal process of creation and destruction, is absolutely independent and creates all that exists under the influence of desire by the mere force of His Will (Iccha Sakti). He makes the world appear in Himself as if it were distinct from Himself, though it is not so in reality. Even as objects appear in a mirror, God is as unaffected by the objects of His creation as the mirror is by the images reflected in it.

Shaivism takes into account both the transcendental and the immanent aspects of Reality and does not find any sharp difference between the two ends of existence. The world of consciousness and that of senses are inseparably connected and to make lives free and unfettered, it is essential to master both. Spirituality is not something far removed from the demands of daily life and does not mean escapism or other-worldliness. The life of utter renunciation is not incompatible with worldly life that has its own place in the scheme of things.

The universe with its smooth and orderly working points unerringly to a skilled hand to be behind it. The whole order of creation follows a meticulous plan and is too meaningful to be dismissed as an error. Everything has a divine purpose and every individual has a part to play. In this colossal organism each part moves according to a set plan, harmoniously playing the role assigned to it by the master designer.

Non-dualistic Doctrine

The doctrine of non-dualism propounded by Abhinavgupta synthesizes all that is abiding, universal and enduring in Vedanta and other systems of Indian thought. In fact, it seeks to integrate dualism, pluralism and even the Buddhist doctrine of Void (sunya). The Soul, according to this doctrine, is of the same nature as Consciousness and there is no difference between the individual soul and the universal self.

Unlike Vedanta, Saivism points out that the world is absolutely real and is the manifestation of God Himself brought about by His Free Will (Swatantrya Sakti). There is no place even for Maya in this system. The empirical world is not an illusion and on attainment of self-realization, it does not disappear as the illusory serpent does when the rope is recognized as a fact. Maya Shakti is the power of delusion that makes subjects identify themselves with Sunya, Buddhi, Prana and the physical body, forgetting the real self. Since Maya is the principle of ignorance and darkness, it cannot directly lead one to enlightenment

Shaivism asserts that the world was created by the Lord as a sport (Leela). Siva, who represents the eternal process of creation and destruction, makes the world appear in Himself as if it were distinct from Himself, though it is not so in reality. God remains as unaffected by the objects of His creation as the mirror is by the images reflected in it.

All the three paths of Jnana, Karma and Bakhti, according to Abhinavgupta, are not independent means to realize the goal of life. Rather, they are complementary to each other. Human nature has three inherent aspects-intellectual, emotional and spiritual which need to be harnessed in order to attain full-blooded realization of the Divine. It, however, disagrees with the Yogic view that one can attain liberation merely by one’s effort without the grace of Siva.

Both Advaita Vedanta and Kashmir Saivism advocate monism though they have developed it differently to suit particular minds. While Badrayana founded Vedanta in the plains of India, Durvasa expounded Trika Saiva in the Himalayan ranges. The sources of Vedanta are the Vedas and Upanishads and those of Saivism are the Tantras.

The two philosophies have prevailed in Kashmir since ancient times, as is evident from the fact that Kashmiri Pandits recite hymns from the Vedas and the Tantras in their daily rites and rituals. They also recite hymns like Mukundamala dedicated to Lord Vishnu and Sivamahimnastotram in praise of Lord Siva.

Upayas

To undertake the journey from the lower to the highest transcendental state, Kashmir Saivism lays down three means (Upayas). They are: Anuvopava, Saktopaya and Sambhavopaya. The first one, Anuvopaya, concerns anu, meaning the individual soul and his mind-body complex. This is the lower form of sadhana which suits those whose minds and intellects are not sufficiently evolved to apprehend the Supreme Reality. Also called Kriyopaya, it is experienced by such methods as recitation of mantras, control of breath, fixation of postures and meditation on various centers of body including the life force (prana). Utpaladeva calls it mayayopaya, which obviously cannot directly lead one to enlightenment for the simple reason that maya is the principle of ignorance.

Saktopaya is a yogic practice which does not involve recitation of mantras or breathing exercises or any objective dhyana. At the same time, it does not suit those who are not capable of reaching a thoughtless state. An expedient of a high order, it is usually meant for those who possess unflinching devotion, sharp intellect and are endowed with inquisitive and highly sensitive minds. In this form of sadhana, the aspirant has to fix his mind on any one point between two objects. Thus the one who establishes oneself in one-pointed awareness enters the state of transcendental consciousness. It is also known as Jnanopaya, as it originates from jnana sakti, the energy of knowledge.

The third expedient, Sambhavopaya, is meant only for those privileged souls who have developed chitta consciousness through the grace of the master. It is a unique way of yoga discipline that leads one to supreme realization by emptying one’s mind completely of all thoughts. Also known as nirvikalpayoga, it makes oneself drowned into an ocean of bliss. Since a strong will is required to achieve this, Abhinavgupta describes it as Ichhopaya or Ichha yoga in his 'Tantraloka', wherein he also points out that "the one established in Sambhavopaya shines like midday sun for the whole universe".

Spiritual lore has examples galore of this state of being. Take the case of Chaitanya. Any words spoken about Lord Krishna brought tears into his eyes. Sri Ramarkrishna, while still a boy, fell unconscious in a paddy field after going into trance at the mere sight of a line of cranes flying in the sky. Similarly, Maulana Rumi once went into ecstasy for nearly six hours while passing by a goldsmith's shop as a result of the musical sound produced by beating the sheets of gold. In that divine mood, he is believed to have envisioned the Supreme in all His glory.

Anupaya:

Over and above these three Upayas, there is the highest and perhaps the final and the direct means to liberation. It is called Anupaya, which literally means no Upaya. It is an effortless effort, one may say. Also called Anandopaya, it is a state in which an aspirant has to do nothing but to only observe silence. One has to be as one is. According to "Tantraloka", a mere touch or a glance of an evolved soul can bring about transcendental bliss.

Swami Lakshman Joo told me in an interview in the seventies that he had had the privilege of having darshan of one such person in Shri Ramana Maharshi, the sage of Tiruvannamalai during his visit to South India, including Pondichery.

Four Systems of Thought

The first system of thought evolved by the Saiva philosophers is Pratyabhijna which literally means to recognize one's own self once again. It represents a mental act by which one realizes and re-unites with the original state i.e. universal consciousness. As an active principle, the individual self (atman) is identical with the Supreme Lord but due to the influence of maya (ignorance), it forgets its divine nature, becomes liable to limitation and bondage, and thinks itself to be different from the Supreme Lord. In this system, the Ultimate Reality voluntarily descends to the level of the Jiva or empirical individual who, in turn, becomes duty bound to ascend and recognize himself as Siva. Thus one's mukti (spiritual freedom) lies in one's clear recognition (Pratyabhijna) of one's identity with the Supreme Lord.
  • Regarded as one of the greatest humanistic movements of Kashmir, Pratyabhijna is completely free from 'negativism' and escapism' of certain schools of Vedanta as also from the 'nihilism' of some Buddhist schools. Realistic in its attitude to life, it lays stress on swatantrya, the complete autonomy of thought and action as the goal of life. Pratyabhijna emphasizes the fact that humans are the sparks of the divine and it echoes the Vedic injunction (vasudhaiva kutumbakam) when it says that the whole of mankind forms one family (manavah bandhavah sarve). Needless to say, Pratyabhijna promotes eternal values of peace, freedom and human dignity.
  • The second system of thought is known as Kula, the science of totality that shines in each and every part of the universe. It teaches how one can live in universal consciousness (chaitanya), the real nature of oneself in both the ascending and descending acts. The purpose of this doctrine is to rise above individual energy and assimilate the blissful energy of totality.
  • Kula ritual, described by Abhinavagupta along with the various tantras of his day in his encyclopedic work, the Tantraloka, (Light of the Tantras), may perhaps lead the practitioner to the highest level of consciousness. But, on the face of it, the Kula ritual appears to be an aberration best forgotten. By upholding this tantrik tradition, Abhinavgupta perhaps sought to break down dualism between the profane and the sacred.
  • The third thought system is that of Krama which stipulates that one has to rise step by step in one's sadhana aimed at self-realization. Its main purpose is to develop such awareness that one transcends space, time and form. There is no space, nor any sense of time for one established in the formless state of Being (nirakar). In this system, the aspirant practices Kundalin Yoga to attain the blissful state of Universal Consciousness.
  • And the fourth is the philosophical school of Spanda, literally meaning ‘Pulsation’. Developed as early as the ninth century in two of its basic texts Siva–sutra and Spanda-Karika, it projects Siva as “all-inclusive reality, a single, unified consciousness, which manifests itself in all subjects, acts and objects of experience by virtue of an inherent and infinite dynamism." It recognizes that nothing can exist without movement. Abhinavgupta says that it is that movement which in fact is no movement at all. Spanda directs the seeker to concentrate on each and every moment in this world. Even the vibration of a blade of grass has the potential to carry one to God consciousness.
According to this doctrine, the world is a play of energy force or vibration, which appears to be in conformity with the modern science. It is not an illusion nor the result of an error in perception (avidya) as Vedantins believe. Spanda rejects outright the Vedantic concept that 'vishva yan-na tad eva brahma' (what is not the world, that is Brahman).

Saktipat

All through the course of Sadhana, one feels the presence of an invisible hand that inspires the aspirant progressively on to the goal of self-realization. The ultimate reality is self-luminous and does not need any external light to illumine it. Self realization as such is not a case of man realizing God but one of God revealing Himself through the instrumentality of His divine power or Sakti. This is known as the doctrine of Saktipat or the descent of Sakti.

Sankaracharya fully endorses this view in his famous work, Viveka Chudamani wherein he says: ”Human birth, desire for liberation and contact with great souls are acquired by the grace of Lord.” Baba Farid said ”God's grace may fall on us at any time. There are no definite rules regulating it. Some do not get it even after performing great austerities and night-long vigils while those who lie
asleep may get it just like that.”

The saint-poetess of Kashmir, Lalleshwari also talks of grace when she says: “Kenchan dyut-tham oray aalav, kenchav racheyi naalay vyeth, kenchan achi laji maschyeth taalav, kenchan papith gay haalav khyeth”. “Some you (meaning God) called out of your own (showered grace on them); some quaffed at the Vitasta (practiced hard penances); some got intoxicated with liquor (were lost in love for you) while there are some whose ripe crops were eaten away by the locust swarms (labors for attainment were lost).

Shiva & Shakti

Shiva is the highest metaphysical principle and the Universe is His Shakti. They are the two aspects of the same Reality. Sakti is related to Shiva as light is to sun. It is through Her that the Lord performs the five acts of manifestation, maintenance, withdrawal, dissolution and grace. Sakti assumes innumerable forms, the chief among them being “Chit, Ananda, Iccha, Jnana and Kriya corresponding to the five states of Shiva, Sakti, Sadasiva, Isvara and Sudha Vidya.. She is responsible both for liberation and bondage, the order of descent and the order of ascent.

While Shiva or Paramsiva is the Ultimate Reality, Shahti is its power of manifestation. The universe is real (not an illusion) and a projection of the Shakti aspect of Shiva. Here, Maya is the creative force as also a veiling element. Kashmir Shaivism does not concern itself only in finding the nature of Siva, Shakti and the Nara but devotes itself extensively on the means to be employed by the man to realize its real self and thus merge with Siva.

Saivism does not preclude worship of individual Gods or any way reduce the importance of Bhakti (devotion) as long as they lead one to the realization of the Self. Worshipping Shakti in various forms is quite common.


Maya Shakti is that power of the Lord which is responsible for misapprehension in regard to the subject and the object. It is the power of delusion that makes subjects forget their real selves and identify themselves with Sunya, Buddhi, Prana and the physical body.

Shakti forms the very nature of Siva and functions in five different expressions: Chit-shakti, Ananda-shakti, Iccha Shakti, Gnana Shakti, Kriya Shakti-conciousness, bliss, will, knowledge and action respectively. Siva, the supreme Lord, through ;his divine Shakti performs five functions: Self limitation (nigraha), creation (srishti), sustenance (sthiti) and absorption (samhara) and bestowal of grace (anugraha). Paramarthasara elucidates in detail various aspect of all these.

Aesthetics & Kashmir Shaivism

Aesthetics has always played an important role in the development of various schools of Indian philosophy. We do not see God as some distant disciplinarian ruler of the universe but is thought of as an intimate and loving master.

Even in ancient times Indus Valley people worshiped their deities through the medium of dance. Vedic fire altars were constructed according to aesthetic norms. Rigvedic hymns in praise of various forces of nature are aesthetically very rich. Cave paintings at Elora and Ajanta testify to the importance attached to beautiful religious images in India during the Buddhist age. Ancient temples and images at places like Khajuraho display a highly developed aesthetic sense. Music is still a central part of the spiritual practice among both the Sakta, Saiva and Vaisnava devotees. According to Vijnanabhairava, music serves as an important aid to get absorbed in pure and blissful consciousness.

Kashmir Shaivism is a philosophy that embraces life in its totality. Unlike puritanical systems, it does not shy away from the pleasant and the aesthetically pleasing aspects of life. In fact, it recognizes and celebrates the aesthetic aspect of the Absolute. It endorses a spiritual path that accepts both enjoyment (bhukti), and liberation (mukti) as the goal of human life. Not approving any form of forcible repression of the senses and the mind, it has developed methods that could be followed equally by both the monks and the householders.

One of the leading scholars of Kashmir Shaivism and a former Director, Abhinagupta Institute of Aesthetics, Dr. Navjeevn Rastogi says that Kashmir Saivism is not rooted in sorrow, nor does it look to liberation (moksha) as a way out. Integral in its approach, it embraces life in its totality and does not, unlike other systems, separate the four goals of life, namely dharma, artha, kama, and moksha.

Yet another Shaiva scholar, Dr. Ashutosh Angiras avers that Shaiva philosophers regarded beauty as a kind of self-expression and with the aid of their aesthetic sensibility found the transcendental reality manifest in every sphere of the mundane world. They even associated Siva not only with poetry, drama, dance or music but also with painting and the world could be seen as a painting painted by Him.

Agamas

The Agamas are deemed to have scriptural authority and are often called the fifth Veda. Scholars believe that the Upanisads and the Agamas branched off from the same stem, namely the Vedas. In fact, till the 11 century AD, both the Veda and the Agama were denoted by the common term sruti (revealed). It was only after that the Vedas were known as nigamas and the Tantras as the agamas. The Agamas are as much philosophic treatises as any other. According to Sir John Wooddroffe, scholars of Agamic literature believe that the Agamic tantric cult had been mainly responsible to swallow up Buddhism on the Indian soil.

Generally speaking, Agama-Shastras of Kashmir deal mainly with ritualistic and mystic practices. Every agama usually consists of four sections or Kandas (1) Vidya or Jnana Kanda dealing with secret knowledge; (2) Yoga Kanda dealing with processes of concentration and breathing; (3) Kriya Kanda dealing with ritualistic performance of rituals and the fourth Kanda pertains to forms of worship. Agama texts also include certain philosophical speculations and teach certain methods, mystical practices (upayas) for achieving lower and higher Siddhis (occult powers). The Siva-sutras are believed to be a Rahasyagama-shastra-samgraha (a compilation of secret Agama Shastra) being the work of Siva Himself.

Misconception about Tantra

Referring to a common misconception that those performing Tantric practices use mystic formulae, invoke spirits and acquire weird powers, a great scholar of Kashmir Saivism, Kamlakar Mishra, says that "such an understanding of Tantra is obviously naive, for Tantra has a much wider connotation and stands for a particular conception of Reality and a particular way of life." Tantra, he pointed out, "presents a set of values that are on the one hand ethically good, and on the other hand, pleasant and satisfying to the individual."

There is no doubt that in several Tantric works, human body is looked upon as Shri Chakra (disc of bountiful Superhuman power) in which the microcosmic angles of Shakti (energy) have been detailed as tvak (Skin), asrah (blood), mamsam (flesh), Meda (lymph) and asthi (bones). The macrocosmic angles have also been defined as the five elements, five tanmatras (subtle elements ), five senses of perception, five senses of action and five Pranas. These aspects of Mother Shakti have been brought out beautifully in the two lofty compilations of panegyrics, Panchastavi and Saundarya Lahiri.

Popularity

Kashmir Shaivism does not advocate a life of renunciation or profession of monks, but recommends an active householder's life with daily practice of worship, yoga and meditation. The use of outward symbols, such as yellow and orange robes, matted hair, and ashes are not recommended, if not prohibited. While recognizing worldly enjoyment as a goal of life, it does plead for a spiritual path aimed at harmonizing worldly enjoyment (bhukti0 and the desire for liberation (mukti). In no case does it advocate suppression of one's emotions. Rather, it provides for a spiritual path leading to the sublimation of the baser instincts and the cultivation of lofty ethical values and the higher goal of spiritual freedom.

Shaivism holds the view that the world of consciousness and that of the senses are inseparably connected and it is essential to master both to make lives free and unfettered. Spirituality does not mean escapism nor the other-worldliness. Rather, it is something not far removed from the demands of daily life.

Relevance to Present Times

Since Kashmir Shaivism adopts a realistic and humanistic approach to life, its relevance to the present times may not be over-emphasized. Trika philosophy undoubtedly inspires one for both material and spiritual growth and what is more there is absolutely no restriction based on color, creed, caste or gender for eligibility in this system.

Moving away from the obviously erroneous maya concept of Advaita Vedanta and Buddhist nihilism, it stresses positive acceptance of material world while pursuing the ultimate goal of ascending to Siva-hood. It abhors the torture of the body or mind, does not plead for suppression or forced control but lays stress on sublimation and gradual turning away from the lure of wealth, power and sense pleasures.

Real joy can be gained as we live in this world by adopting spiritual approach and go about our work by exercising moderation in living. Be as you are, for when one discovers inner bliss, one will give up fascination for outer worldly enjoyments.

Shaivism-Its Abiding Influence

Shaivism has attracted the attention of many eminent thinkers, yogis and philosophers throughout India.

Inscriptions testify to the fact that the teachers of Pratyabhijna school of Kashmir Shaivism were held in great honor in the court of the Chola emperors, from where they diffused out all over India during the medieval period. The earliest influence of Pratyabhijna system can be seen on the post-Sankara philosophical developments in India, particularly on Ramanuja (1017-1137 AD) who propounded his philosophy of qualified monism, accepting a personal God as the Absolute.

However, it was Dr. Buhler's report on the discovery of manuscripts of Shaiva Shastras of Kashmiir in 1877 that generated widespread interest in the subject, particularly after the Kashmir Research Department started intensive study of Shaiva philosophy in 1902. In recent times, Kashmir Shaivism had its votaries in the great saint-philosopher of Kerala, Sri Narayana Guru (1854-1928), the great poet-thinker, Rabindranath Tagore (1861-1941), the great mystic-Yogi, Sri Aurobindo (1872-1950), and Swami Muktananda (1908-1982).

In his book entitled "The Philosophies of Sri Sankara and Sri Narayana" published in 1988, a distinguished research scholar from Kerala, Dr. B. Karunakaran, traces Narayana Guru's philosophy to the basic concepts of Pratyabhijna and says that a 'harmonious blending of Kashmir Shaivism and Advaita Vedanta can be met with in Narayana Guru's system.' He points out that the influence of Abhinavgupta on Narayana Guru's perspectives is more pronounced than that of Sankara.

Sri Aurobindo, who gave to the world the concept of Superman, had a clear influence of Shaivism on his thought process. Like the Shaivist thinkers of yore, he treats the world as God’s sport. He so beautifully echoes the Shaivist concept when he says: “This world was not built with the bricks of chance; a conscious power has drawn the plan of life and there is meaning in every curve and line. Individual life is not cut out of the whole and must not be viewed in isolation. The whole creation is Lord’s play (leela)”.

The great poet-philosopher, Rabindranath Tagore, avers that “Kashmir Shaivism has penetrated into that living depth of thought where diverse currents of human wisdom united in a luminous synthesis.”
*A journalist by profession, a scholar by temperament and a writer by choice, Gopinath Raina was inclined to the study of religion from his very young age. It was Swami Vivekananda’s dynamic exposition of Hindu thought that fired his imagination while he was still at school, and by the time he entered college, he had been drawn to the writings of Gandhi, Aurobindo, Narayana Guru, Radhakrishnan and Bertrand Russel.

After retiring from Indian Information Service (I.I.S.) in 1983 where he distinguished himself as an editor, correspondent, commentator and administrator in All India Radio, he edited, AICC Journal, Varnika, (Jan.'84-Dec.'90), Koshur Samachar (March'91-Oct'95, Sanatana Sandesh,(1997-2005) and KASHEER (2003-2004),

He has been writing profusely on various aspects of Hindu thought. He enjoys writing, particularly on saints and sages, not only of Kashmir, but of the other parts of India as well. Presently he lives in Miami, and spends his time writing personal memoires.
POSTED BY ......VIPUL KOUL  FOR KASHYAP NEWS 

Spiritual and Literary Life of Pt. Nilakanth Sharma

Spiritual and Literary Life of Pt. Nilakanth Sharma
By Dr. R.K. Tamiri
Nilakanth SharmaPt. Nilakanth Sharma was born at Dab Wakoora, Shadipur (Tehsil Ganderbal, Srinagar), on 21st June, 1888 to Pt. Shankar Joo and Sukhmal. His family originally belonged to Ganpatyar locality of Srinagar. Pt. Ramjoo, one of his ancestors, had gone in adoption to a Sharma family of Dab Wakoora. The family has no clue as to when this adoption had taken place.
Pt. Ramjoo's family at Dab Wakoora were big Chakdars and held lot of land at Rabitar (Gund Roshan) in tehsil Ganderbal. The peasants of the area, to distinguish this family from other Pandits, used to call them 'Badih bhatta' (affluent Pandits).
Pt. Nidhanjoo Sharma, a descendant of Pt. Ramjoo, was well learnt in religious scriptures. So was his son Pt. Shankar Joo. There is an interesting anecdote connected with Pt. Shankar Joo. One day as usual he was absorbed in performing 'Sandhya' (Puja) at 5 AM in the morning on the bank of a rivulet. A group of peasants happened to pass by. They wished him 'Bandagi Mahra'. Since he was absorbed in meditation he did not respond. The peasants thought that Shankar Joo might not have heard them. They drew nearer and again said 'Bandagi Mahra'. As he still did not respond they came more closer and repeated the same. Shankar Joo, disturbed in his meditation, lost his cool and shot back," You Rascals, get out". The peasants retraced their steps and went home muttering ad nauseaum 'Shankar Joo Bandagi, Shankarjoo Bandagi...' Even at home they continued to speak this uninterruptedly. The worried families approached Pt. Shankar Joo for forgiving them. He told them that he didn't do anything to them but they disturbed his puja. Shankar Joo asked them to get Dhoop and light it as sort of remedy. The peasants were their normal self again. Nobody in the village dared to take liberties with him.
There were no schools in Pt. Nilakanth Sharma's time at Dab Wakoora. So he had no formal education. He mastered Sanskrit, Persian, Hindi and Urdu and had good working knowledge of English. Pt. Nilakant knew Sanskrit very well and had learnt it from his father. His father and grandfather, Pt. Nidhanjoo knew Sanskrit quite well. Kashmiri Pandits from neighbouring villages would flock to them for learning Sanskrit. Pt. Nilakanth composed verse mostly in Kashmiri and occasionally in Sanskrit. There is nothing to suggest that he wrote verses in Hindi or Urdu. Pt. Nilakanth received initial coaching in Persian primer from a teacher but gained proficiency in the language through his own efforts.
Pt. Nilakanth was well steeped in Saivite lore and had imbibed Saivite teachings, first from his father and then from books. After 1947 when the family shifted from Dab Wakoora to Srinagar many Kashmiri Pandits of the city would visit Pt. Nilakanth to take lessons in Saivism from him. Pt. Nilakanth had two brothers-Pt. Lakshman and Pt. Gopi Nath. They too tried their hand in composing few Bhakti (devotional) leelas in Kashmiri.
Pt. Nilakanth was married to Leelawati. The latter's sister, Ranim Ded was married to Pt. Govind Bhat Shastri of Motiyar, Rainawari. Pt. Govind Bhat was a teacher in CMS School. He has written many scholarly commentaries. His son, Pt. Triloki Nath Shastri even after doing M.Sc. Physics went for Shastri and Prabhakar to keep alive the family's rich literary tradition. Pt. Triloki Nath, who was a great scholar of Vedic math did not go for government service and taught at DAV Higher Secondary School Rainawari.
Spiritual Associations:
Balji Kaw:
Pt. Balji Kaw was a spiritually elevated person. He hailed from downtown area of Srinagar and was an ardent devotee of Goddess Ragniya. He used to stay a Tulmulla in a Dharmshala. Balji was a saint of high order. It is said he used to converse with Goddess Ragniya. Nilakanth's family  Kul Devi was also the same goddess. He often would go to Balji Kaw and hold discussions with him on spiritual matters. Once Pt. Nilakanth's youngest brother Gopi Nath fell ill. The family lost all hopes of recovery. Pt. Nilakanth sent brother Lakshman to Tulmulla to seek Balji Kaw's intervention. The latter told Lakhsman, "I had premonition about your visit the moment you stepped out of your home. This 'file' is now out of my hand. I can do little'. Lakshman turned pale, with tears rolling down his cheeks. He threw himself at Saint's feet. Balji was moved and told Lakshman," Since you have come you mix this sugar candy with Hakim's sharbat and serve it to Gopi Nath. On the 4th Day he should shell some paddy in Kanz (Big Stone Pestel) and bring that to me himself.". On taking Sharbat Gopi Nath got well and took shelled danya to Balji. The latter wished him good health and prosperity.
On another occasion an aged Kashmiri Pandit was reciting 'Panchastavi' text at the holy spring of Tulmulla. Another Kashmiri Pandit who had come from Srinagar objected and told the old man that his recitation of Panchastavi was incorrect. He further implored him not to proceed any further with the recitation. The same Pandit who had found fault with the recitation went to see saint Balji Kaw before leaving for home. Balji was visibly angry and told him," You have lost your direction. Who has given you authority to decide right and wrong. You are obsessed with grammar and lingustic nuances. Why don't you appreciate the devotion with which this person was reciting 'Panchastavi'. Goddess is angry with you".
Pt. Nilakanth would meet Balji almost every week. At latter's instance Pt. Nilakanth once composed this Bhajan:
"Boz shamrupi Narayanas Tsar votanas bozyam nayiyeh".
(Narayan has syam colour. I would relate my tale of woe to him. I want him to listen to me)
Swami Nand Lal (Tikr):
Swami Nand Lal used to visit Pt. Nilakanth regularly at Dab Wakoora as well as Srinagar. He would hold spiritual discussions with Pt. Nilakanth and liked his leelas. Swami Nand Lal Ji had mastery over Saiva Yoga and demonstrated the miraculous powers the Saiva Yogis used to possess. Once Swamiji asked Pt. Nilakanth to compose a Leela on a scene 'when Lord Krishna is born and Lord Shankar comes to have his darshan. A few lines of this leela read like this:
"Azar Amar Yogishwar nermal Kuniya
Shodbodh Shankar Aaav Laran Gokul Kuniya".
(When Lord Krishna was born Lord Shankar, who was himself a God and a Yogi, came running to have his darshan)
In spiritual mehfils of Srinagar Pt. Nilakanth's Leelas were in great demand. When Swami Nand Lal Ji passed away his disciples asked Pt. Nilakanth to compose a Gurustuti on the saint. He was quite old then but agreed to their request. A few lines of the Gurustuti composed by Pt. Nilakanth which is recited at Nandbab Ashram read like this:
'Agyan ghate sirya Prakash Schuk aasavunaya
he shrih satgor khena khena schum aasar chonuya'
A Sadhu from Uttarakashi:
There is an interesting story which Pt. Nilakanth's brother Lakshman related to his nephew, Sh. Prithvi Nath Madup, a noted Hindi Litterateur. Pt. Nilakanth was once immersed in puja when he all of a sudden called Lakshman and asked him to spread a blanket infront of him. A little amazed Lakshman asked, "you are busy with Puja. What have you to do with the blanket".  Pt. Nilakanth asked his brother not to waste time in arguments but lay the blanket immediately. A few seconds later a hermit, dressed in bare loincloth and holding Kamandal in his one hand entered the Thokur Kuth. He seated himself on the blanket laid by Pt. Nilakanth. The two just looked at each other for few minutes. Then Pt. Nilakanth spread his hands before the hermit, demanding 'Maharaj Prasad'. The hermit took out an apple from the Kamandal and put in Pt. Nilakanth's hands, saying 'Sirf Aap Ke Liye' (only for you). The hermit impressed upon Pt. Nilakanth not to share it with anybody else. Pt. Nilakanth asked Lakshman to prepare tea for the hermit. Before the tea could be served the hermit had vanished. Pt. Nilakanth kept shouting to his family members not to allow the hermit to leave the house without taking tea.
Who was this hermit? For decades the Sharma family had no answers. In 1989-1990 Pt. Nilakanth's younger son Sh. Prithvi Nath Madhup was posted to Uttarkashi. He recalled to the author a strange experience he had  on one of the occasions here. Sh. Madhup's office clerk had informed him that a hermit lived on a hill nearby. The hermit had built a hermitage for himself. The hermit was seen by the public only on few occasions. Nobody had any idea where would the hermit go in between.
When Sh. Madhup insisted on visiting the hermit , the clerk carried  along another teacher of school who taught music. At the hermitage they saw the hermit seated on worn out darbasan. His Kamandal was in front of him. The hermit nodded, asking them to come nearer. His asan could accommodate just one person. Pointing towards Mr. Madhup the hermit offered his asan. The hermit himself sat on earth. Mr. Madhup sat down as a disciple  and in all humility told the hermit. "I am a sinner. I will not sit on this asan'. The hermit replied" Yeh apke Guru Maharaj Ke Liye.Maih Unhika Rup Apko Manta Hoon" (This is for your Guru Maharaja I take you as his incarnation) and then kept silent. Sh. Madup and others bowed in reverence. After an hour  when they prepared to leave the hermit gave his consent by a nod. When Sh. Madhup spread out his hands before him for 'Prasad' the hermit took out an apple from his Kamdnal and offered him, saying, "Yeh Aapke Kashmir Ka Hai, Sirf Apke Liye" (This is from your Kashmir, it is only for you). This hermit was never seen again by Sh. Madhup.
Saint Sedamol and Swami Asokanand:
Swami Ved Lalji 'Sedamol' was close to Sharma family and visited Pt. Nilakanth quite often. He regarded Pt. Nilakanth as his spiritual guru. On the day of Ashtami he would invariably visit Pt. Nilakanth at Dab Wakoora to pay his regards. Swami Asokanand who had his ashram at Sumbal would also visit Dab Wakoora to hold spiritual discussions with Pt. Nilakanth. The latter had met Pt. Krishan Joo Razdan, the greatest leela poet Kashmir has ever produced. No details are available about this encounter.
Pt. Nilakanth had powerful impact on others. People in their maiden meeting with him would decide to become his disciples. One of Pt. Nilakanth's close friends was a police official, Sh. Govind Ram Padroo of Srinagar.
Jyotish Vidya:
Pt. Nilakanth had deep knowledge of Jyotish Vidya and Vedic Math. He had predicted the time of his death. His predictions usually came correct. He was famous astrologer of his time. Pt. Nilakanth while practicising astrology would use traditional techniques to verify 'Tekni'  and time of birth. He would not practise faith healing. He would say that he was a saint and it was not his job to practice faith-healing.
Too often the villagers would pressurise him to yield. He once gave a yantra and few suggestions to a chowkidar Rasool Bhan to try his luck. Bhan's problem was solved.
Family Life:
Pt. Nilakanth was very sober. He never raised his voice while talking to others. He abhored giving corporal punishment to his children. His way of conveying was suggestive but very effective. He took good care of children and was deeply attached to his wife.
Pt. Nilakanth, who had deep  knowledge of Kashmir's religious folklore took extra pains to transmit this tradition to his two sons—Prof. Janki Nath Sharma and Sh. Prithvi Nath Madup. The former was a renowned professor of English. He had his education from MP School, Bagh Dilawar Khan, SP College and Amar Singh College, Srinagar and did MA in English from Lahore. Prof. Sharma retired as Principal from Science College, Jammu. A habit inculcated by his father Prof. Sharma remains a voracious reader even today. His interests include—Ramakrishna Paramhans, Aurbindo Ghosh and Raman Maharishi. Prof. Sharma too had interest in poetry and has written few poems under the nom de plume of 'rasik'. Even in his youth he wrote a leela on renunciation (vairagi). Few lines of it:
Rasiko chah ras chiyo ragkuyi
Kar yatan chah samsar Tiyagkuy
Nashi Shah Mukhan kiyuth ti zanh
Yim tan shah, yim tan shah
The other son, Sh. Prithvi Nath Madup is a renowned poet, with 5 collections to his credit. His wife too turned spiritual after she was married to Sh. Madhup. It was due to Pt. Nilakanth's influence. Mrs. Madhup too has written some poems,published in anthology of Sh. Madhup.
Pt. Nilakanth was a strict vegetarian from the age of 35.
He passed away on 21st of January 1971. Soon after his death Sh. Makhan Lal Dhar, a drawing teacher in Kendriya Vidyalaya School paid a unique tribute. He knew Pt. Nilakanth quite intimately. He did an oil painting on Pt. Nilakanth and his wife, keeping one of his bhajans as the context.
1. Leela-Shradhanjali:
Pt. Nilakanth has left behind over 300 poetic compositions with theme of Bhakti (Devotionalism), Gyan (knowledge) and Vairaga (Renunciation). The Leelas are dedicated to different gods-Krishna, Shiva, Ram etc. and goddesses - Jwala, Ragniya, Tripore Sundari. He is the only Kashmiri to have written a Leela on Hanuman. Pt. Nilakanth regarded Lord Rama as his main deity. He wrote many leelas at the behest of saints and for arti (prayer). References to Pt. Nilakanth's contribution in leela compositions are available in an anthology Leela Sumran brought out by Sahitya Academy. In 1947 during tribal raid the Sharma family had to flee Dab Wakoora and seek shelter in Srinagar. Their house was set on fire. The family while fleeing in adverse circumstances managed to take out unharmed the entire work done by Pt. Nilakanth. In Srinagar the family first stayed at Kanikadal at the house of Pt. Goverdhan Shastri, the head Pandit of Sanskrit Pathshala. The latter was son-in-law of Pt. Nilakanth Sharma. After a while the Sharma family shifted to the house of Razgarus (Razdan) at Drabiyar. The bedbugs in this house disturbed the great literateur so much that Pt. Nilakanth Ji went poetic to express his agony. He wrote:
Nand Lal Arzanneh Sathgora
Razkareh Ganda Gav
Zan Meh Moklav
Nilakanth Chu Aamut Tanga
Amar Hey Chara Charay Daya Kara
The family had to look for a new rented accommodation at Kharyar before they constructed their own house at Narsingh Garh. It is unfortunate that even after six decades Pt. Nilakanth's Leela poetry remains unpublished. Few poems have been translated and published in Koshur Samachar.
2. Ramayan-e-Sharma or Sharma Ramayan:
This was completed in 1926 after seven years of work. It was 5th work on Kashmiri Ramayana after Prakash Kurigami (1804), Shankar (1880), Anand Ram Razdan (1888), Vishnu Kaul (1913). Dr. ON Kaul has done a comparative study of Ramcharit Manas and Kashmiri Ramayana. He refers to 'Sharma Ramayana'. Mrs. Sarojini Bhat, now in United States, did her M.Phil. Thesis on 'Sharma Ramayana' from Kashmir University.Dr. Shashi Shekhar Toshkhani, a critic of eminence in his 'Kashmiri Sahitya Ka Itihas' has made a critical study of 'Sharma Ramayana'. He rates 'Sharma Ramayan' as an important contribution in Kashmiri compositions on Ramayan. The 'Sharma Ramayana' has eight parts.
According to Sh. PN Madhup, "Sharma Ramayan is based on collation of Valmiki Adhyat and Ramcharit Manas. The author himself has added new things (Moulik Udbhavana). It is an original work and not a translation. Sharma Ramayan is steeped in Bhakti rasa, where the author accords precedence to devotion over grammer. Pt. Nilakanth has displayed great sense of imagery. The places where Sita does vilap (wailing) he has used nastaliq alphabets having dots (Banukht) and where she is quiet he uses letters without dots (be nukhta). It is unique in itself".
Nilakanth SharmaDr. Toshkhani opines that 'Sharma Ramayan' based on 8 sections bears strong influence of 'Ramcharit Manas' e.g. in Kishkinda Kanda (Gana Gamand Garjat Gana Ghora). At the same time Dr. Toshkhani cautions, "It would be wrong to say that 'Sharma Ramayan' is a translation work of 'Manas', because the author has not only introduced new themes but has also tried to present the original themes in a new perspective." Even at places where the influence of 'Manas' is overbearing Pt. Nilakanth Sharma has introduced a new flavour which brings forth his own interpretation of the subjects. In certain situations the influence of Prakash Kurigam's Ramayana is also visible in Sharma Ramayan'.
In 'Sharma Ramayan' the feelings have been expressed very well and the use of metaphors is also superb. Dr. Toshkhani has a word of strong praise for the author. He says," The battle situations come alive at many places in 'Ramayan-e-Sharma'. The author has used excessive, flowery expression in narrative. He has also taken great pains to write in a very refined language. The language has lot of Persian vocabulary. At places the whole paragraphs are in Persian, while at other places few lines of Hindi and Urdu are also visible.
3. Bramtur Khand: It is translation of one chapterof Shivapurana into Kashmiri.
4. Sudha Sindu: It is translation of Bhagvat in Kashmiri verse. Since Pt. Nilakanth treated Bhagvat slokas as 'Amrit' (Nectar) he titled the translation as Sudha Sindu' (Amrit Samundar). Bhagvan Gopi Nath would also say 'remember one sloka of Gita it serves as Guru'. The uniqueness of 'Sudha Sindu' is that it has been written in Hartarana Bahar/metre i.e it can be sung in any raga. The translation is done in a form of Kashmiri which is intelligible to the common man and has been presented in a manner which keeps the interest of the reader sustained till the end. At places necessary annotations have been added. Pt. Nilakanth has profusely used Persian vocabulary in this translation.
5. Supana Vasvadatta:
It is a play written by Bhasa, the legendary dramatist in Sanskrit literature. Pt. Nilakanth had good felicity in prose as well as poetry in Kashmiri language. This work of Bhasa has been translated by him in verse as well as prose. He has tried to be as close to the original as possible. In the beginning of the play Bhasa introduces all the characters. Pt. Nilakanth has also followed this. There is one lady character Padmavati. Pt. Nilakanth introduces her this way:
Yim Jaaya Hyadyook
Padma Vatir Cheya Dyathus
Rishi Muniyav Aaschar Yach
Khyar Athnazi
Kansih Ek Lob Lob Tar Tar
Hey Raghunandan Jaikar
This work was on display during a UNESCO exhibition due to efforts of Prof. MD Hajini.
6. Bilva Mangal:
Bilva Mangal is a great story in which the main character is a an ardent devotee of Lord Krishna. The character who loved his wife too much used to be always in her company. His wife once told him, "Why are you after my flesh? What will come out of it. Why don't you become a devotee of Lord Krishna'. Bilva, the character removed his two eyes (so that he could no more see the women) and became great Bhakhta of Lord Krishna. Pt. Nilakanth Sharma also became great Bhakta of Lord Krishna after his marriage due to great attachment to his wife. Bilva Mangal, a Kashmiri rendering of the classic, is an outpouring of this affection for his wife. In this work there is a scene of a Charasi (Cannabis addict). The lines composed by Pt. Nilakanth to describe this scene became craze among the Cannabis addicts of Srinagar city. The lines read:
Charasa Chhah Yarkandi
Kyah Chhas Yivan Sugandi
Charasa Tamokha Loht Gasi Aasun
Kong Hiyu Kyah Liyudruy
Kong Khohta Liyudruya Chus
Bah Baraan Ruztav Meh Andi Andi
In style Pt. Nilakanth's language is proportionate to and befitting the status of the character.
7. Bhakht Jaidev Charitara:
Bhakht Jaidev in full devotion used to break into dance. The persons who would meet Jaideva would also start dancing. Pt. Nilakanth has composed this work to eulogise Jaidev.
Source: Kashmir Sentinel, Panun Kashmir
 POSTED BY;VIPUL KOUL
EDITED BY ; ASHOK KOUL