KALI IN
KASHMIR SHIVAISM..........by.
The entire objective existence is just like a dream and is the result of the imagination of Osalpan) of the mind: these are the views of the Buddhist school of Vidjnanavad and Western idealists. But, according to the theistic absolutism of Kashmir’s monistic Shaivism, this is not imagination at all, but an external manifestation of the divine forces of absolute consciousness, and it is called a sea otter, that is, it is significantly different from mental imagination (kalpan:) m. In Tantralok, Abhinavagupta describes the sea otter as a process of clear manifestation in the five stages of growth, called kshepa, jnanam, samkhyanam, gati and nada. This can be explained as follows: Kshepa: everything, essentially and really, is a pure and absolute I-consciousness, since such a consciousness contains everything in itself in the form of divine power. This means that it has the ability to appear in the form of all phenomena, according to her free will, always playfully active in manifesting outwardly the infinite and divine power of such a consciousness. The penchant for the game of absolute consciousness reveals some phenomena outside as different from Him. Such an imaginary difference between these phenomena is known in Shaivism as kshepa, which means "throwing, throwing." It looks as if an all-inclusive absolute consciousness throws out phenomena from itself, forever shining as an omnipotent, infinite I-consciousness. It manifests phenomena outside in the state and form of Eternity. Thus, they seem to be thrown out of the Self and put in the position of esteem or objectivity. This Ego begins to shine as an entity other than the Self. Each creature continues to do the same, although without noticing it. Each step of the external manifestation was defined by Abhinavagupta with these words: “Svatmano bhedanam ksepah,” meaning that because of kshepa, the thing seems different from me. (TAlV-174).
At the second stage of phenomenal manifestation, the element of the Self makes an indefinite cognitive perception of such a differentiated Ego. Differentiated Ego initially shines in the psychic light of the I as an object that is not yet perceived in any clear definite form or under any particular name. She shines there by means of knowledge, not yet accompanied by any definite idea or word-image. This knowledge is known as nirvikalpa samvedana, or perception without a clear idea, and here is called jnana, the second step
objective manifestation. Abhinavagupta explains it this way: Jnana means knowing a differentiated object through nirvikalpa-cognition — cognition not accompanied by any clear idea or word-image (TA IV - 174). That is why in Nyaya-sastra, nirvikalpa is not considered a direct tool of prama - the right knowledge.
The third step of such an external manifestation is knowledge, accompanied by a certain specific idea, indicated by a certain specific word, the image of which permeates such knowledge and becomes an integral part of it. This kind of knowledge that sheds light on the name and shape of an object is called samkhyanam in the context of the five types of sea otters. This term should be interpreted as Samyak Khyanam - "to make something clearly known." This should not be understood in the meaning of mathematical calculation. As a sea otter, samkhyanam is savikalpa cognition, i.e. knowledge with a certain specific idea, which is always accompanied by any particular word-image denoting this idea. In the Tanggraqlok, this is stated as follows: “To know something through savikalpa-knowledge is called Samkhyanam, since it considers the object to be definitely different from another similar object ”(TA IV-174). In other words, the law of apokhana applies here. Apokhan is applied to the object of this knowledge through a clear idea of it, expressed in a certain word-style, shining in its light with this idea.
The fourth step of the sea otter process consists of selfish knowledge of the object as
expressions in our I-consciousness as “I know this object” or “This object is known to me”. This is the stage of prama, the correct objective knowledge, the direct result of the savikalpa of knowledge, according to the analysis of the process of knowledge in Nyaya-sastra. In Shaivism, this is called gati in the meaning of knowledge (gatir jnanam) and Abhinavagupta is defined as follows: Gati is the adoption of the position of reflection of an objective idea in the I-consciousness of a knowledgeable subject (TA IV -175). Consciousness, as it were, carries an idea of this object. The fifth step of the sea otter is the feeling of such self-satisfaction in which the objective appearance of this object is completely absorbed by our self-awareness, shining only as a pure residual Self or Aham. This is called nada, i.e. pure self-awareness, and in Tantraloka it is described as follows: “Nada is that residual self-awareness, which completely absorbed the objective manifestation ”(TA IV -175). These five stages of the sea otters represent the five divine activities of the Almighty Lord. Kshepa represents creation (srishti), jnanam represents sthiti (preservation, stability), and samahara, or absorption, is represented by gatis. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. These five stages of the sea otters represent the five divine activities of the Almighty Lord. Kshepa represents creation (srishti), jnanam represents sthiti (preservation, stability), and samahara, or absorption, is represented by gatis. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. These five stages of the sea otters represent the five divine activities of the Almighty Lord. Kshepa represents creation (srishti), jnanam represents sthiti (preservation, stability), and samahara, or absorption, is represented by gatis. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice.
the constant repetition of the correct conceptual knowledge (savikalpa-knowledge) of the true truth about the nature of Y. Kalina is a special kind of such practice and therefore it was included by Abkhina-vagupta in the shakta-upa of Trika in both of his most important works - Tantrolok and Tantrasara. This is contemplative meditation on the twelve aspects of Kali, the divine power of the Lord, manifesting itself in the basic nature of every being. The fivefold sea otter, discussed above, taking place in the sphere of phenomenal existence, IS THIS NATURAL ACTIVITY OF ABSOLUTELY EVERY LIVING BEING, INDEPENDENTLY OF IT, UNDERSTANDS IT OR NOT. The living being carries out such activity in relation to the world around it.
Kali, in fact, is the divine power of the Lord that performs the five-membered sea otter in relation to the whole manifest existence, and shines in the form of the divine power of absolute reality in transcendental existence. So she was contemplated, and so she was discovered in her main twelve aspects. Shaivite yogis have discovered that it carries all existence on the levels: pure unity at the Shakti stage, unity in diversity at the Vidya stage and complete diversity at the Maya stage. All phenomena must also exist in a transcendental state of absolute consciousness, otherwise they could not manifest themselves at the stages of Vidya and Maya. Therefore, Kali, the divine power of the Absolute, contains everything, even at the transcendental level. Thus, Kali appears in his four aspects and is called Paradevi, Paraparadevi, Aparadevi and the All-Penetrating
Kalakarshinidevi, the absolute transcendental divine power. Then they think about it as a creator of creation, preservation and dissolution at all four levels of existence. Such divine actions are in the form of the divine stir of Spanda, shining like Paradevi at the stage of perfect unity. At this stage, the phenomenon is identical to it. Paraparadevi contains a phenomenon in itself, just as a city is reflected in a mirror and seems different and at the same time not different from it. Aparadevi carries a phenomenon like the way the house contains different household items as different from it. The original and basic seeds of all phenomena, as well as the seeds of creation, etc., really exist in the transcendental absolute. Therefore, Kali is realized here as containing everything and performing all divine actions also in Her transcendental aspect. Here it shines as a single form - Para, Parapara and Aparadevi - and is called absolute Kalakarshini, that is, a force that draws in and absorbs the whole concept of Kala, or time, which, in essence, is a sense of consistency. This is the name given to the concept of a sequence of events and actions. In Sanskrit, the sequence is called krama. Since Kali in its transcendental aspect draws in all the concepts of sequence, this aspect of Kali is called Kalakarshini. This is the most refined and exalted concept of Kali and its twelve aspects, which Abhinavagupta discusses in Tantrasara, which he wrote after Tantraloka. The concept of the twelve Kali was also developed in several other ways,
applicable in contemplative shakta-upai meditation of the Tric system of monistic Shaivism.
A Kalinai practitioner should see his consciousness performing the five-membered sea otter in relation to the pramatra (the subject of the cognitive process), pramana (the instrumental means of cognition), pramey (the object of cognition) and prama (correct knowledge). He should constantly repeat such contemplative practice in relation to his own forces, and as a result, it will lead to self-realization and deepen the impression of the discovery that he is none other than the Almighty Lord, capable of manifesting his divine actions in relation to all existence, phenomenal and non-phenomenal. He recognizes the essential nature of his I-consciousness as Kali, the divinity of the Almighty Lord, playing the sea otter, the five-membered game of phenomenal manifestation through its twelve aspects.
A Kalinai practitioner visualizes the forces of his own self-awareness as embracing and absorbing by the I-consciousness the various phenomena of the twelve species around him - one after another - with the help of the twelve Kali. It is just as if he were swallowing the world around him with his strength, which consists of four components: pramatra, pramana, prameya and prama, going through creation, preservation and absorption, and thus appearing in twelve forms,
since Kali, like the divine power of the Lord, manifests all four elements of the process of cognition, discussed above, as his subject, object, etc., it is she who is the source and the true essence of the whole manifestation of pramativity [34]. Other
in words, everything related to phenomenal cognition, everything that appears as life in the Universe, in fact, is only It. Therefore, in the Trika Agamah Kali is called Matrisadbhava [35].
In addition, if absolute consciousness were deprived of His power and tendency to an external manifestation called a sea otter, it would lose all its beauty and charm. Kali, the source of all beauty, is absolute reality and therefore is called Vaeshvari in the Nisatana Agama, which speaks of Her as the mistress of the beautiful. The original meaning of the word vama is beauty. The same meaning is conveyed in the name of Vamadeva - the divine form of Shiva. Vamachara is a theology system that prescribes enjoyable activities and interactions with pleasing and beautiful objects. Words to youor, vamochanana, vamanga [36], etc. also convey this meaning in Sanskrit literature.
Such a subjective contemplation of one's own divine power was discussed in detail in the Tanthralok of Abhinavagupta as one of the important practices of the Shakta-upai. Tantrasar also speaks of this in detail. It is believed that such a practice brings results very quickly and this has made it so popular among Trikou practitioners. Since by its nature it is highly hidden, the Malinivijaya and Devilshla Tantras, which mention Matrisadbhava and Kalakarsini, are only hinted at. (MVT VIII-34). Abhinavagupta refers to this reference and Jayaratha quotes this passage in Tantraloka: (TA III - 70, 71).
Trikasara, an ancient work on the Trika system, speaks of her as a deity surrounded by twelve yoginis, and Abhinavagupta refers to this,
discussing Kali (TA III - 254). Such references in Tantralok prove that viburnum was an integral part of Trika long before Abhinavagupta wrote his Tantraloka. Vowels, with the exception of eunuchs - short and long “g” and “1” - were accepted as twelve Kali in the matrix yoga of Shambhavapaya. (TA III - 250-253).
Abhinavagupta perceives Kalina as an integral part of the Tric system and shows that it occupied such a position long before it, and was so adopted in some ancient agamic texts and philosophical works.
For the first time, viburnum was discovered, developed, and distributed thoroughly among practicing Shivaites by the Siddha Sivanandanath, who gave her the special name Kramanaya, or the sadhana system of Krama. Abhinavagupta mentions Sivananda as the master of the Uttara pitha {northern pitha, or northern center, approx. per.). In ancient times, there were four famous centers of tantric theology: Kamakhya - eastern pitha in Assam, Purnagiri - southern pitha in Andhra, Jalandhara - western pitha in Kangra (Himachal Pradesh) and Ariyana pitha in Jagannathapuri as the central one. There were many additional Iupa-numjc centers in many places in India. The Kashmir Valley, for example, is known as the Medha Pitha. It can be completely mistaken for Uttara-pithu Siva-nandanatha, who lived in Kashmir. The time of Sivanan-Danath - VIII century. A.D., since Somananda (IX century A.D. ) was a fourth generation student in his transmission line. The main disciples of Sivananda were three yoginis - Keyurawati, Madanika and Kalyanika. Their three main disciples were respectively Govindaraja, Chitrabhanu (also known as Bhanuka) and Erakanatha. Govindaraja handed over
a detailed Kalinaya method of Somananda, and his teachings reached Jayaratha in the 12th century AD through a long chain of mentors and students. The teachings of Chitrabhanu reached Abhinavagupta in Xv. AD through Udbhatu, which should not be confused with the author of Udbhatalankara (VIII century A.D.). Udbhata received knowledge of Kali worship from Ujata, who in turn received it through oral tradition through the line of disciples of Chitrabhan. Erakanatha was engaged in himself and did not create any line of transmission. All his life he tried to develop supernatural abilities, and at sunset her such achievements became disgusting to him. Then he wrote just a few stotras or religious hymns. Many more practitioners, scholars and authors appeared in this tradition from the disciples of Sivanandanath. Jayaratha mentions some of them by name, and some are known to us from the long passages from Kramakeli Abhinavagupta that Jayaratha quotes in the commentary on Tantraloka. Information about Sivanandanatha, about the line of his disciples and the history of the spread of Kalinai among practitioners can also be obtained from the notes of Jayaratha and the passage from Kramakeli that he quotes [37]. Abhinavagupta gives many quotes and excerpts from some of the works written in the folk languages of Kashmir, which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write The lineage of his disciples and the history of the spread of Kalinai among practitioners can also be obtained from the notes of Jayaratha and the passage from Kramakeli that he quotes [37]. Abhinavagupta gives many quotes and excerpts from some of the works written in the folk languages of Kashmir, which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write The lineage of his disciples and the history of the spread of Kalinai among practitioners can also be obtained from the notes of Jayaratha and the passage from Kramakeli that he quotes [37]. Abhinavagupta gives many quotes and excerpts from some of the works written in the folk languages of Kashmir, which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write
and speak the language of the people, and the quotes saved by Abhinavagupta in his Tantrasara and in the vivarana on Paratrishika could be taken from written works or sayings of Madanika, in the line of continuity of which he gained access. Some of these passages could belong to either of the other two yoginis.
A Kalinai practitioner had to visualize the forces of his own consciousness as twelve Kali, absorbing the whole existence, consisting of pramatra, pramana and prameya during the fulfillment or stay in the processes of creation, maintenance, absorption and absolute existence. He should have seen himself as a master containing such an existence within himself. Such contemplative meditation was to be performed in relation to the twelve aspects of Kali - one after another - in the established order of sequence. Sequence order
The Krama Tantricism of Kashmir
All kinds of manifestations of all phenomena of the whole world are carried out by the Almighty Lord through His divine power, which is given the name "Kali" in Shivaism, that is, the power of God, through which he carries out all manifestations of all phenomena, as well as His five divine action.The entire objective existence is just like a dream and is the result of the imagination of Osalpan) of the mind: these are the views of the Buddhist school of Vidjnanavad and Western idealists. But, according to the theistic absolutism of Kashmir’s monistic Shaivism, this is not imagination at all, but an external manifestation of the divine forces of absolute consciousness, and it is called a sea otter, that is, it is significantly different from mental imagination (kalpan:) m. In Tantralok, Abhinavagupta describes the sea otter as a process of clear manifestation in the five stages of growth, called kshepa, jnanam, samkhyanam, gati and nada. This can be explained as follows: Kshepa: everything, essentially and really, is a pure and absolute I-consciousness, since such a consciousness contains everything in itself in the form of divine power. This means that it has the ability to appear in the form of all phenomena, according to her free will, always playfully active in manifesting outwardly the infinite and divine power of such a consciousness. The penchant for the game of absolute consciousness reveals some phenomena outside as different from Him. Such an imaginary difference between these phenomena is known in Shaivism as kshepa, which means "throwing, throwing." It looks as if an all-inclusive absolute consciousness throws out phenomena from itself, forever shining as an omnipotent, infinite I-consciousness. It manifests phenomena outside in the state and form of Eternity. Thus, they seem to be thrown out of the Self and put in the position of esteem or objectivity. This Ego begins to shine as an entity other than the Self. Each creature continues to do the same, although without noticing it. Each step of the external manifestation was defined by Abhinavagupta with these words: “Svatmano bhedanam ksepah,” meaning that because of kshepa, the thing seems different from me. (TAlV-174).
At the second stage of phenomenal manifestation, the element of the Self makes an indefinite cognitive perception of such a differentiated Ego. Differentiated Ego initially shines in the psychic light of the I as an object that is not yet perceived in any clear definite form or under any particular name. She shines there by means of knowledge, not yet accompanied by any definite idea or word-image. This knowledge is known as nirvikalpa samvedana, or perception without a clear idea, and here is called jnana, the second step
objective manifestation. Abhinavagupta explains it this way: Jnana means knowing a differentiated object through nirvikalpa-cognition — cognition not accompanied by any clear idea or word-image (TA IV - 174). That is why in Nyaya-sastra, nirvikalpa is not considered a direct tool of prama - the right knowledge.
The third step of such an external manifestation is knowledge, accompanied by a certain specific idea, indicated by a certain specific word, the image of which permeates such knowledge and becomes an integral part of it. This kind of knowledge that sheds light on the name and shape of an object is called samkhyanam in the context of the five types of sea otters. This term should be interpreted as Samyak Khyanam - "to make something clearly known." This should not be understood in the meaning of mathematical calculation. As a sea otter, samkhyanam is savikalpa cognition, i.e. knowledge with a certain specific idea, which is always accompanied by any particular word-image denoting this idea. In the Tanggraqlok, this is stated as follows: “To know something through savikalpa-knowledge is called Samkhyanam, since it considers the object to be definitely different from another similar object ”(TA IV-174). In other words, the law of apokhana applies here. Apokhan is applied to the object of this knowledge through a clear idea of it, expressed in a certain word-style, shining in its light with this idea.
The fourth step of the sea otter process consists of selfish knowledge of the object as
expressions in our I-consciousness as “I know this object” or “This object is known to me”. This is the stage of prama, the correct objective knowledge, the direct result of the savikalpa of knowledge, according to the analysis of the process of knowledge in Nyaya-sastra. In Shaivism, this is called gati in the meaning of knowledge (gatir jnanam) and Abhinavagupta is defined as follows: Gati is the adoption of the position of reflection of an objective idea in the I-consciousness of a knowledgeable subject (TA IV -175). Consciousness, as it were, carries an idea of this object. The fifth step of the sea otter is the feeling of such self-satisfaction in which the objective appearance of this object is completely absorbed by our self-awareness, shining only as a pure residual Self or Aham. This is called nada, i.e. pure self-awareness, and in Tantraloka it is described as follows: “Nada is that residual self-awareness, which completely absorbed the objective manifestation ”(TA IV -175). These five stages of the sea otters represent the five divine activities of the Almighty Lord. Kshepa represents creation (srishti), jnanam represents sthiti (preservation, stability), and samahara, or absorption, is represented by gatis. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. These five stages of the sea otters represent the five divine activities of the Almighty Lord. Kshepa represents creation (srishti), jnanam represents sthiti (preservation, stability), and samahara, or absorption, is represented by gatis. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. These five stages of the sea otters represent the five divine activities of the Almighty Lord. Kshepa represents creation (srishti), jnanam represents sthiti (preservation, stability), and samahara, or absorption, is represented by gatis. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice.
the constant repetition of the correct conceptual knowledge (savikalpa-knowledge) of the true truth about the nature of Y. Kalina is a special kind of such practice and therefore it was included by Abkhina-vagupta in the shakta-upa of Trika in both of his most important works - Tantrolok and Tantrasara. This is contemplative meditation on the twelve aspects of Kali, the divine power of the Lord, manifesting itself in the basic nature of every being. The fivefold sea otter, discussed above, taking place in the sphere of phenomenal existence, IS THIS NATURAL ACTIVITY OF ABSOLUTELY EVERY LIVING BEING, INDEPENDENTLY OF IT, UNDERSTANDS IT OR NOT. The living being carries out such activity in relation to the world around it.
Kali, in fact, is the divine power of the Lord that performs the five-membered sea otter in relation to the whole manifest existence, and shines in the form of the divine power of absolute reality in transcendental existence. So she was contemplated, and so she was discovered in her main twelve aspects. Shaivite yogis have discovered that it carries all existence on the levels: pure unity at the Shakti stage, unity in diversity at the Vidya stage and complete diversity at the Maya stage. All phenomena must also exist in a transcendental state of absolute consciousness, otherwise they could not manifest themselves at the stages of Vidya and Maya. Therefore, Kali, the divine power of the Absolute, contains everything, even at the transcendental level. Thus, Kali appears in his four aspects and is called Paradevi, Paraparadevi, Aparadevi and the All-Penetrating
Kalakarshinidevi, the absolute transcendental divine power. Then they think about it as a creator of creation, preservation and dissolution at all four levels of existence. Such divine actions are in the form of the divine stir of Spanda, shining like Paradevi at the stage of perfect unity. At this stage, the phenomenon is identical to it. Paraparadevi contains a phenomenon in itself, just as a city is reflected in a mirror and seems different and at the same time not different from it. Aparadevi carries a phenomenon like the way the house contains different household items as different from it. The original and basic seeds of all phenomena, as well as the seeds of creation, etc., really exist in the transcendental absolute. Therefore, Kali is realized here as containing everything and performing all divine actions also in Her transcendental aspect. Here it shines as a single form - Para, Parapara and Aparadevi - and is called absolute Kalakarshini, that is, a force that draws in and absorbs the whole concept of Kala, or time, which, in essence, is a sense of consistency. This is the name given to the concept of a sequence of events and actions. In Sanskrit, the sequence is called krama. Since Kali in its transcendental aspect draws in all the concepts of sequence, this aspect of Kali is called Kalakarshini. This is the most refined and exalted concept of Kali and its twelve aspects, which Abhinavagupta discusses in Tantrasara, which he wrote after Tantraloka. The concept of the twelve Kali was also developed in several other ways,
applicable in contemplative shakta-upai meditation of the Tric system of monistic Shaivism.
A Kalinai practitioner should see his consciousness performing the five-membered sea otter in relation to the pramatra (the subject of the cognitive process), pramana (the instrumental means of cognition), pramey (the object of cognition) and prama (correct knowledge). He should constantly repeat such contemplative practice in relation to his own forces, and as a result, it will lead to self-realization and deepen the impression of the discovery that he is none other than the Almighty Lord, capable of manifesting his divine actions in relation to all existence, phenomenal and non-phenomenal. He recognizes the essential nature of his I-consciousness as Kali, the divinity of the Almighty Lord, playing the sea otter, the five-membered game of phenomenal manifestation through its twelve aspects.
A Kalinai practitioner visualizes the forces of his own self-awareness as embracing and absorbing by the I-consciousness the various phenomena of the twelve species around him - one after another - with the help of the twelve Kali. It is just as if he were swallowing the world around him with his strength, which consists of four components: pramatra, pramana, prameya and prama, going through creation, preservation and absorption, and thus appearing in twelve forms,
since Kali, like the divine power of the Lord, manifests all four elements of the process of cognition, discussed above, as his subject, object, etc., it is she who is the source and the true essence of the whole manifestation of pramativity [34]. Other
in words, everything related to phenomenal cognition, everything that appears as life in the Universe, in fact, is only It. Therefore, in the Trika Agamah Kali is called Matrisadbhava [35].
In addition, if absolute consciousness were deprived of His power and tendency to an external manifestation called a sea otter, it would lose all its beauty and charm. Kali, the source of all beauty, is absolute reality and therefore is called Vaeshvari in the Nisatana Agama, which speaks of Her as the mistress of the beautiful. The original meaning of the word vama is beauty. The same meaning is conveyed in the name of Vamadeva - the divine form of Shiva. Vamachara is a theology system that prescribes enjoyable activities and interactions with pleasing and beautiful objects. Words to youor, vamochanana, vamanga [36], etc. also convey this meaning in Sanskrit literature.
Such a subjective contemplation of one's own divine power was discussed in detail in the Tanthralok of Abhinavagupta as one of the important practices of the Shakta-upai. Tantrasar also speaks of this in detail. It is believed that such a practice brings results very quickly and this has made it so popular among Trikou practitioners. Since by its nature it is highly hidden, the Malinivijaya and Devilshla Tantras, which mention Matrisadbhava and Kalakarsini, are only hinted at. (MVT VIII-34). Abhinavagupta refers to this reference and Jayaratha quotes this passage in Tantraloka: (TA III - 70, 71).
Trikasara, an ancient work on the Trika system, speaks of her as a deity surrounded by twelve yoginis, and Abhinavagupta refers to this,
discussing Kali (TA III - 254). Such references in Tantralok prove that viburnum was an integral part of Trika long before Abhinavagupta wrote his Tantraloka. Vowels, with the exception of eunuchs - short and long “g” and “1” - were accepted as twelve Kali in the matrix yoga of Shambhavapaya. (TA III - 250-253).
Abhinavagupta perceives Kalina as an integral part of the Tric system and shows that it occupied such a position long before it, and was so adopted in some ancient agamic texts and philosophical works.
For the first time, viburnum was discovered, developed, and distributed thoroughly among practicing Shivaites by the Siddha Sivanandanath, who gave her the special name Kramanaya, or the sadhana system of Krama. Abhinavagupta mentions Sivananda as the master of the Uttara pitha {northern pitha, or northern center, approx. per.). In ancient times, there were four famous centers of tantric theology: Kamakhya - eastern pitha in Assam, Purnagiri - southern pitha in Andhra, Jalandhara - western pitha in Kangra (Himachal Pradesh) and Ariyana pitha in Jagannathapuri as the central one. There were many additional Iupa-numjc centers in many places in India. The Kashmir Valley, for example, is known as the Medha Pitha. It can be completely mistaken for Uttara-pithu Siva-nandanatha, who lived in Kashmir. The time of Sivanan-Danath - VIII century. A.D., since Somananda (IX century A.D. ) was a fourth generation student in his transmission line. The main disciples of Sivananda were three yoginis - Keyurawati, Madanika and Kalyanika. Their three main disciples were respectively Govindaraja, Chitrabhanu (also known as Bhanuka) and Erakanatha. Govindaraja handed over
a detailed Kalinaya method of Somananda, and his teachings reached Jayaratha in the 12th century AD through a long chain of mentors and students. The teachings of Chitrabhanu reached Abhinavagupta in Xv. AD through Udbhatu, which should not be confused with the author of Udbhatalankara (VIII century A.D.). Udbhata received knowledge of Kali worship from Ujata, who in turn received it through oral tradition through the line of disciples of Chitrabhan. Erakanatha was engaged in himself and did not create any line of transmission. All his life he tried to develop supernatural abilities, and at sunset her such achievements became disgusting to him. Then he wrote just a few stotras or religious hymns. Many more practitioners, scholars and authors appeared in this tradition from the disciples of Sivanandanath. Jayaratha mentions some of them by name, and some are known to us from the long passages from Kramakeli Abhinavagupta that Jayaratha quotes in the commentary on Tantraloka. Information about Sivanandanatha, about the line of his disciples and the history of the spread of Kalinai among practitioners can also be obtained from the notes of Jayaratha and the passage from Kramakeli that he quotes [37]. Abhinavagupta gives many quotes and excerpts from some of the works written in the folk languages of Kashmir, which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write The lineage of his disciples and the history of the spread of Kalinai among practitioners can also be obtained from the notes of Jayaratha and the passage from Kramakeli that he quotes [37]. Abhinavagupta gives many quotes and excerpts from some of the works written in the folk languages of Kashmir, which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write The lineage of his disciples and the history of the spread of Kalinai among practitioners can also be obtained from the notes of Jayaratha and the passage from Kramakeli that he quotes [37]. Abhinavagupta gives many quotes and excerpts from some of the works written in the folk languages of Kashmir, which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write
and speak the language of the people, and the quotes saved by Abhinavagupta in his Tantrasara and in the vivarana on Paratrishika could be taken from written works or sayings of Madanika, in the line of continuity of which he gained access. Some of these passages could belong to either of the other two yoginis.
A Kalinai practitioner had to visualize the forces of his own consciousness as twelve Kali, absorbing the whole existence, consisting of pramatra, pramana and prameya during the fulfillment or stay in the processes of creation, maintenance, absorption and absolute existence. He should have seen himself as a master containing such an existence within himself. Such contemplative meditation was to be performed in relation to the twelve aspects of Kali - one after another - in the established order of sequence. Sequence order
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