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Abhinavagupta G.T Abhinavagupta G.T. Deshpande TO The sculpture reproduced on the endpaper depicts a scene where three soothsayers are interpreting to King Suddhodana the dream of Queen Maya, mother of Lord Buddha. Below them is seated ascribe recording the interpretation. This is perhaps the earliest available pictorial record of the art of writing in India. From: Nagarjunakonda, 2nd century A. D. Courtesy : National Museum, New Delhi. ABHINAVAGUPTA G. T. Deshpande Sahitya Akademi Sahilya Akademi Rabindra B ha van, 35. Ferozeshah Road. New Delhi 110 001 Sales : *Swati\ M indir Mar g. New Delhi 110 001 Jeevm Tara Building. 4th Roor, 23A/44X, Diamond Harbour Road, Calcutta 700 053 Cuna Building. 2nd Roor, No. 304-305. Ann as al ai. Teynampet. Madras 600 013 A.D.A. Rangamandira. 109. J.C. Road Bangalore 560 002 172, Mam bai Marathi Grantha Sangrahalaya Mar g, Dadar. Bombay 400 014 Ô Sahitya Akademi First Published 1989 Reprinted 1992 Rs.45 Published by the Sahitya Akademi and printed at Himgiri Print Point, New Delhi 110 019. DEDICATED to The sacred memory of Late Dr. KANTI CHANDRA PANDEY whose writings inspired me to study Abhinavagupta Suikrit Alphabet! » S i t u Û r T ! e ai o au « « t S ï * * * 1 f S ari 3ft à b spjwn' fitrf k kb g gh f i ï % « il n C cb j jh fl * ai 1 *1 \ îh d dh n Z 3 t K 1 t tb d dh n « 1 * 1 ’l P ph b bh ro 9 * » y r 1 va i 9 T n 1 f t h 9 *1 î Marathi letter a-i 3fW Ç Sign of Apostrophe ( * ) Preface I have based this monograph on Abhinavagupta mainly on the writings of late Dr. Kami Chandra Pandey, who devoted his scholarship to provide us with a detailed account of a well known but little studied philosophical system of Monistic Saivisra of Kashmir and its greatest exponent Abhinavagupta. Those who are keen on studying the &aiva Monism of Kashmir or Abbinavagupta’s theory of aesthetics, cannot do so without going critically through the writings of Dr. Pandey. I happened, to read his first treatise on Abhinavagupta about thirty-five years ago. It created in me a keen interest in the Pratyabhijftä School of Philosophy. His first volume on Indian aesthetics brought about a change in my outlook towards Indian poetics. His volumes of ‘Bhäskar!’ made it easy for me to grasp the principles of the Pratyabhijflà School. Dr. Pandey’s writings thus have been for me a source of inspiration to study Abhinavagupta, his philosophv and his aesthetics. In this mono­ graph, I have borrowed the material from his writings and at places, I bave used his expression also freely, as a student would use the thought and expression of his teacher. With a deep sense of gratitude, 1 dedicate to his sacred memory this small attempt of mine in the spirit of "Tvadiyarii vastu Govinda tubhyam eva samarpaye". I am also grateful to other writers on the subject whose works I have utilised in preparing this monograph. Such works have separately been mentioned in the Bibliography attached to this book. This essay is an attempt to acquaint the reader with Abhinava’s thinking in Aesthetics and its philosophical basis as found in Monistic Saivism. I have also tried to show how in whatever he wrote on—whether philosophy or poetics—there runs an undercurrent of spirituality, culminating into the stage of oneness with the Ultimate. In the third chapter which deals with the philosophy of Saiva Monism, I have touched upon those points which, to according to me, are necessary to understand Abhinava's theory of Rasa and Dhvani. The treatment of Rasa and Dhvani forms the subject-matter of the fourth and the fifth chapters. These three chapters together form the core of this book. They are preceded by chapters on Abhinava’s personal history and his works, and are followed by the chapters showing his influence and his contribution to Indian thought. The reader, I hope, will get from these pages a general idea of Abhinavagupta as a person, as an aesthetician and as an exponent of Monistic Saivism. I have added at the end of this book an appendix, ’Notes and References*. The original Sanskrit quotations from Abhinava’s various works are gtven there to indicate the sources on which the discussions in this book arc based. 1 have quoted a few Sanskrit verses in the body of the monograph. Their free English rendering has been given in the Notes. I am thankful to the Sahitya Akademi, for giving me an opportunity to place my thoughts about Abhinavagupta to­ gether, in this monograph and for shouldering the responsibility of publishing these pages. I place this monograph in the hands of readers, whatever its worth is. I request them to suggest improvements which will be considered and utilised in the next edition. G.T. Deshpande Contents I Life 13 II Works 23 III Abhinavagupta's Philosophy 29 (i) Historical Background 29 (ii) Monistic §aiva Philosophy 34 (iii) Epistemic Approach of Monistic Saivism 63 IV Abhinavagupta's Theory of Aesthetics (!) 65 (i) Historical Background 65 (ii) Aesthetic Experience as Explained by Abhinavagupta 78 (iii) Abhinavagupta’s Exposition of Rasa Sutra 87 (iv) Sänia Rasa 96 V Abhinavagupta's Theory of Aesthetics (II) 100 (i) Theory of Dhvani 100 (ii) Abhinavagupta’s Philosophy of Music 115 (iii) Pratibhä 119 VI Abhinavagupta's Influence on Later Writers 128 VII Abhinavagupta's Contribution to Indian Thought 138 (i) His Contribution to Literary Criticism and Other Sciences. 140 (ii) His Catholic Attitude “Éâstra Sammelanam" 145 (iii) The Path of " Tantra” 151 (iv) Conclusion. 158 Appendix— Notes and References 164 Bibliography 179 Chapter 1 Life Abhinavagupta is not altogether silent like Kälidäsa in giving his personal account. Kalidasa does not mention even his name in his Mahâkâvyas. Abhinavagupta, however, notes some facts of his life as welt as about his ancestors in two of his works, Tantrdloka and Parätrimiikävivarana. At times, he mentions names of his teachers as well as the subjects he studied under them in various commentaries of bis. Putting all these pieces of information together and arranging them in chronological order wherever possible, we are in a position to draw a broad sketch of bis personal life, which appears to be as follows : Abhinavagupta mentions one Atrigupta of Agastyagotra as his earliest ancestor. Atrigupta lived in Madhyadeia or AntarvedI (modern U.P.) and enjoyed the patronage of Yaiovarman, king of Kanoj. Atrigupta was a very learned Brahmin. He had attained scholarship in all the branches of knowledge in general and in the field of Saiva Sästra in particular. King Lalitaditya of Kashmir was very much impressed by Atrigupta’s erudition and requested the scholar to go with him to Kashmir.1 The victory of Lalitaditya over Yaiovarman has been dated at about A.D. 740. We may, therefore, say that the family in which the Saiva Aohinavagupta was born some two centuries later, migrated from Madhyadeia to Kashmir in the middle of the eighth century. The king Lalitaditya ordered a good house to be built on the bank of the river Vitastä (Jheluro) on a plot opposite the temple of Sltärhiumälin (Siva) for Atrigupta to settle there per­ manently and a big Jagir was granted to him for maintenance.* Besides Atrigupta, Abhinavagupta mentions his grandfather Varähagupta. The scholastic tradition was maintained in the family from generation to generation. This Varähagupta was also a great scholar and a devotee of Lord Siva.’ 14 Abhinavagupta Abhinavagupta’s father was Narasimhagupta alias Cukhulaka. Cukhulaka also was a great scholar and had equal proficiency in all the Sastras. He also was a great devotee of Siva. The name of Abhinava's mother was Vimalakalâ.4 She was a pious and religious lady. Narasimhagupta and Vimalakalâ made a happy couple and carried on household duties not for any worldly attachment but because it was ordained by the Sastras. The family atmosphere was thoroughly religious and scholarly. Abhinavagupta was born to this couple between a .d . 950 and 960 (Abhi., p. 9). It is traditionally believed in Kashmir that Abhinavagupta was Yoginïbbü. i.e. born of a Yoginl. The parents of Abhinavagupta were sincere devotees of Lord Siva. Abhinavagupta in later life rose to the position of Äcärya of the Saiva sects in Kashmir by his exposition of Saiva philosophy and practice of the life of a Saiva Yogin. It is a belief amongst Saivas that it is only a Yoginïbhü, who can properly understand and intelligently propound the tenets of Saiva monism. Hence, he is believed to be a Yoginïbhü. According to Saiva tenets the parents desirous of a son of the status of Yoginïbhü, should rise above all worldly desires at the time of meeting. The mother should identify her­ self with Saktiand the father with Siva. According to Jayaratha, the commentator of Abhinava's Tantrâloka, the popular idea of Abhinava's being a Yoginïbbü is based on his (Abhinava’s) own authority, for, the opening verse of Tantrâloka, as Jayaratha interprets it, refers to this fact.6 Abhinavagupta has been mentioned by later writers as ‘Abhinavaguptapada’. The word ‘päda’ is used here to indicate honour. However, the whole word points out to a hidden implication. The word ‘Guptapâda’ means a serpent or Seja. Hence the term ‘Abhinavaguptapada* would mean ‘a new incarnation of Sesa*. Pataftjali, the author of Vyâkarana Mahâ- bhàsya is said to be an incarnation of Sesa. Abhinavagupta was well versed in grammar. He studied Mahàbhàfya under his father Cukhulaka. In his writings also his proficiency in grammar is evident at every point.
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