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 Posted - Jul 07 2005 : 05:07:16 AM
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243 From: Virendra Qazi <pomposh@gmail.com>
Date: Sun Mar 13, 2005 9:31pm
Subject: MAYA & AESTHETICS IN KASHMIR SHAIVISM virendraqazi
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MAYA AND AESTHETICS
IN
KASHMIR SHAIVISM
VIRENDRA QAZI
C-II/2284, VASANT KUNJ,
NEW DELHI - 110 070 [INDIA]
PHONE NOS. 26133936 / 26892972
During full moonlit night, devotees of Swami Vivekanand were gazing at
the resplendent sky from the yatch in the mid sea. They invited
Swam'ji, who was inside, to share their joy at the fascinating sight.
Swamiji remarked, "If God's creation, His Maya Shakti is so fantastic,
can we ever surmise His glory and His greatness"!
This message, indeed, should permeate all of us. We should endeavour
to think - whether we think this way? The simple and frank answer is
- no. Perhaps, we face insurmountable problems at individual, social
and still higher levels, totally making us to lose our confidence.
That is why we call the world a great paradox, a maze, beyond any
body's comprehension.
We take the help of God to escape the stark realities of the World.
We hold Him high with due eulogy, but we have unkind words for His
Creation - the manifested World, called MAYA. We call it illusion,
deluding, transitory, etc. Still, we have to reconcile with this
situation.
Page 2
As an endeavor to understand this puzzle, we can take recourse to and
seek guidance from our ancient philosophy of Kashmir Shaivism. This
universal philosophy focuses on relation between God, Nature and Man,
which transcends all the barriers of time, place and diverse human
cultures. At individual level it provides the complete analysis of
human personality and all the aspects of life are integrated and taken
in totality.
To understand Maya as per Kashmir Shaivism first we have to seek the
nature of Ultimate Reality called PARAM SHIVA who manifests the total
Bliss and Who is all complete in Himself. From Him emanates
everything. He is beyond description, beyond all manifestation, beyond
limitation of form, time and space. He is eternal, infinite, all
pervading, all knowing and all powerful. In fact, this reality is
ineffable and beyond all descriptions.
PARAM SHIVA AND HIS UNIVERSAL MANIFESTATION.
This manifested material world called Maya is part of the great
process of universal manifestation which we can call "evolution" and
"involution". Kashmir Shaivism postulates 36 categories or "tattvas"
to explain the process of cosmic evolution. Let us keenly focus our
attention to this process of universal evolution or universal
experience, i.e. from God hood to Maya Shakti which is the veiling or
obscuring force of nature leading to various psycho - physical
elements and finally the Panch Mahabhutas - five great gross elements
: Earth, Water, Fire, Air and Ether.
Page 3
SHIVA TATTVA
The first outward manifestation of the divine creative energy in the
process of cosmic evolution is called Shiva - Tattva. It is the
initial creative movement of Paramasiva. It is the static aspect of
consciousness or like support of all things in the manifest world. It
is like the bed of a river or the canvas of a painting. It can never
be seen, it can only be known by its effects. In this condition, the
emphasis is on the subject without any awareness of the existence of
the object.
SHAKTI TATTVA
Since the Shiva Tattva represents the passive aspect of the pure
consciousness, it is dependent upon the active or dynamic aspect to
bring it into being. This is called Shakti Tattva. Shakti is the
active or kinetic aspect of consciousness.
This Shakti Tattva or cosmic energy represents the force that produces
a strain or stress on the surface of the Universal consciousness. It
is said to have three principal forms to account for the three
fundamental psychological steps that precede every action.
Technically the first one is called ICHCHA SHAKTI, the power of
feeling oneself as supremely able and of an Absolutely irresistible
will. Second one is the JNANA SHAKTI, the power of knowledge or
knowing of consciousness. The KRIYA SHAKTI is the power of supreme
action, creating or assuming any and every form. One follows the
other in logical succession.
Page 4
Just as an artist pours out his delight in a poem, picture or song,
even so the Supreme pours out his delight in this manifestation called
Shakti. When Shakti is predominant, supreme bliss is experienced.
Mahesvarananda puts is beautifully in Maharthamanjari. "He (i.e.
Shiva) Himself full of joy enhanced by the honey of the three corners
of His heart, viz ICCHA, JHANA AND KRIYA, raising up His face to gaze
at His own splender is called Shakti".
MAYA AND FIVE KANCUKAS (COVERINGS)
Now let us come to evolution of material universe. The power of
consciousness to separate and divide is called Maya Shakti. This is
the power to perceive differences. The term "Maya" means illusion.
Here it is used to refer to the veiling or obscuring force of nature
which creates a sense of differentiation. As such, it makes universal
consciousness which is unity, appear as duality and multiplicity.
The category of Maya is postulated to account for the manifestation of
"form" out of "Formless", the finite out of infinite. So Maya is
considered not as a separate reality, but as the gross power of
consciousness and is referred to as Maya Shakti. Maya is defined as
the limiting principle which reduces the universal powers of
consciousness and produces the state of limited experience. It
divides and disperses divine unity of the God head and brings into
existance the mind and matter.
Page 5
The products of Maya are the five kancukas or coverings which are
KALAA (limitation of authorship or efficacy) VIDYA (limited
knowledge), RAGA (from all satisfaction to feeling of interest and
desire) KAALA (from eternity to limitation in respect of time i.e.
past, present and future) NIYATI (limitation in respect of cause and
effect).
PURUSHA AND PRAKRITI
The result of Maya and its five coverings as referred above are
PURUSHA and PRAKRITI. Here the dual world of mind and matter is
permanently established. In order words, although the Lord is
absolutely free, He puts on Maya and her coverings (five cloaks),
forgets His true nature, limits His power and reduces Himself to an
individual soul which is called Purusha and its objective
manifestation PRAKRITI.
BUDDHI, AHAMKARA AND MANAS
Now, let us come to the tattvas of mental operation i.e. BUDDHI,
AHAMKARA AND MANAS. Buddhi is the ascertaining intelligence which can
be external i.e. a jar perceived through eye or internal, like images
built out of the impression left on mind. Ahamkara is the product of
buddhi. It is the I - making principle and the power of self -
appropriation. Manas is the product of ahankara. It co-operates with
the senses in building up perceptions, and by itself, it builds images
and concepts.
Page 6
We are continuing to focus on the cosmic manifestations. The products
of AHAMKARA are five powers of sense perception or JNANENDRIYAS, five
powers of action or KARMENDRIYAS and five primary elements of
perception or TANMANTRAS. The process of inevolution is complete
finally with panch Mahabutas as referred earlier.
Frankly, very important position is given to Ahankara. In fact, it is
the product of SHAKTI through the intermediate Prakriti which
obviously is a mode of the Divine Energy. Rajas gunas is prominent
here and other gunas are in subdued form. One can understand
significance of Ahankara by the story of the Buddha Bhikshu Upasena.
As he tried to over come this tattva by his "sadhana", his body got
scattered because there was no Ahankara up-holding it.
It is Important to understand that, according to Kashmir Shaivism,
this analysis of all phenomena into thirty-six tattavas has been
worked out as a tool of understanding for the ever-active and
inquiring mind and as a form for contemplative meditation. At higher
sadhana the number of tattvas may get reduced. Finally a highly
advanced Shiva Yogin may see only the Shiva Tattva in the whole of
creation.
DOCTRINE OF THE FOUR STAGES IN THE MANIFESTATION OF SPEECH.
To understand the manifestation of Maya Shakti from the level of Param
Shiva, it is important to consider the process and stages in the
manifestation of speech. Bharatrhari, the originator of the
philosophy
Page 7
of Sanskrit grammer, says in his Vakyapadiya: "The eternally existent
Brahman, being the changeless essence of speech appears in the form of
the phenominal substance out of which the process of universal
existence proceeds". The authors of Kashmir Shaivism have explained
in detail the concept of SABDABRAHMAN.
Speech is not only the means to convey one's ideas to others, it is
also a way to understand things personally. When we choose to convey
ideas to others, we generally use spoken language, known as VAIKHARI.
A finer form of speech that serves as the medium for thinking and
understanding, through which a person forms definite and indefinite
ideas about words and their meanings, is the mental speech called
MADHYAMA. It is an internal reflection of manifestation of awareness
taking the form of ideas. There is a still finer level of speech, far
subtler in character and resides in the inner-most part of our being.
It is called PASYANTI. It is known as the "be-holding speech" because
through its medium enlightened people can behold all objective
existence within themselves. Beyond this is PARAVAC the supreme
speech or the transcendental speech. This consists of pure awareness
of the self. It is also called PARAVANI.
This doctrine can also be understood by the example of an artist's
creation from the grossest to the finest level. His tangible creation
like a painting etc. can be VAIKHARI and the images formed mentally,
where his creation shines within him in the form of MADHYAMA. Before
even this exists a subtle creative urge like a stir, or restlessness
or inward flutter which is PASYANTI. Finally, at the most
Page 8
subtle level, the original seed of the artistic creation lies in the
inner most center which is shining as PARAVAC, the Supreme speech.
MAYA AND WORLD
For centuries Indian philosophers have been debating whether this
world is real or an illusion. Many schools of philosophy have
interpreted the nature of Maya in various ways. As explained, Kashmir
Shaivism maintains Maya is based nether on the imagination nor any
finite being nor on any flux of mind. Maya is Siva-Mayi: Divine and
perfectly real. The universe is not mithya. The universe is
Siva-rupa and therefore real. It is a display of the glory of the
Divine.
Having recognized Maya as creation of God, we should accept the world
in totality. No problem of society, state, nation and individual is
to be ignored. A person cannot succeed in any aim of life if he shuts
his eyes towards these problems. Besides, there should be greater
understanding of others views based on sense of accommodation. This
will develop correct perception and contribute to furthering of human
understanding. Verily it can be called practical Shaivism.
AESTHETICS.
After a detailed analysis of Maya Shakti as per Kashmir Shaivism let
us come to development of aesthetic principles in religious rituals.
In fact, in Indian thought aesthetics has always played an important
role in the development of various schools of philosophy. Frankly,
we do
Page 9
not see God at some distant disciplinarian ruler of the universe. He
is thought of as an intimate and loving master who is extremely
beautiful and lovable.
Even in ancient times Indus Valley people worshiped their deities with
dance. Vedic fire altars were constructed according to aesthetic
norms. Rigvedic poetry, sung in praise of various forces of nature,
personified as gods with human like forms, is rich in aesthetic valve.
Music and song are still a central part of the spiritual practice
among Vaisnava devotees. 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 aesthetics sense in the art of
stone carving.
Kashmir Shaivism is a philosophy that embraces life in its totality.
Unlike puritanical systems it does not shy away from the pleasant and
aesthetically pleasing aspects of life as somehow being unspiritual.
On the contrary, great importance has been placed on the aesthetic
quality of spiritual practice in Kashmir Shaivism. In fact,
recognizing and celebrating the aesthetic aspect of the Absolute is
one of the central principles of this philosophy.
In this way, the aesthetic outlook of Indian philosophers and
thelogins reached its full expansion in the Tantric system of sadhana
or spiritual practice. It is indeed difficult to find any Tantric
deity who does not posses some powerful aesthetic charm for the
devotee.
Page 10
Kashmir Shaivism is propagated a spiritual path that focused on the
simultaneous attainment of enjoyment (bhukti), and liberation (mukti).
It accepted both of them as the goal of human life, and developed
philosophies and methods that could be followed equally by both monks
and householders. It did not approve of any form of forcible control
or repression of the mind, emotions, and senses, but rather emphasized
that such practices could create adverse reactions that might simply
deepen a practitioner's bondage.
MUSIC
In aesthetics music has a very special role. The power of music is
highly appreciated in Kashmir Shaivism. It is included as an
important aid to spiritual attainment and forms an important sadhana
in the process of spiritual growth. In the process of universal
manifestation explained earlier, ETHER (Akasa) is the finest of the
categories of physical objects (Panch Mahabutas). Similarly, sound is
the finest of the five specific sense perceptions (tanmatras). Thus
sound or music is most effective in subduing body - consciousness and
arousing the dormant blissfulness of pure consciousness.
As per Vijnanabhairava, the pleasure aroused by song and music is
accepted as a means to enter into the state of pure and blissful
consciousness.
Page 11
"Yogins, experiencing their oneness with some incomparable pleasure
aroused by the experience of objects like sweet songs etc. and fixing
their mental attentiveness on it, find unity with the Absolute Lord
through a practice of absorption in this kind of phenomenon
(Vijnanabhairava, 73)"
The great scholar Abhinavgupta always used to keep a vina by his side
and would occasionally play it. He must have found vina as powerful
aid in the practice of withdrawing his awareness from the world around
him and focusing within on the purer consciousness of the Self.
THE CAUTION
Concluding, it would be pertinent to add a word of caution. A
practitioner should not fall into a web of sensual enjoyments and
thereby lose sight of the higher spiritual goals of life. In fact
whenever there is something of real merit and truth available, there
are usually false forms of it being offered by hypocrites who may try
to deceive people by ostentitious displays of Tantrism and through
misleading information about these practices. False gurus existed
even in ancient times.
CONCLUSION
Finally all of the blissful and beautiful aspects of the God are
present in each and every person and living thing, but they remain
dormant because they are hidden behind the mask of maya. In other
words, we are all blinded to this inner bliss and beauty by our
limited sense of who we are, and by the habit of directing so much of
our attention out
Page 12
into the world. We pursue the outer object in an attempt to rediscover
the blissful state, not realizing that the source of bliss is within
and need not be attached to an outer stimulus or some outer source at
all. This inner beauty can be discovered and contacted at will
through simply turning our attention within and through the various
practices of Trika yoga.
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