MAYA AND AESTHETICS IN KASHMIR SHAIVISM

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MAYA AND AESTHETICS

IN

KASHMIR SHAIVISM

 

VIRENDRA QAZI

C-II/2284, VASANT KUNJ,

NEW DELHI - 110 070 [iNDIA]

 

PHONE NOS. 6133936 / 6892972

 

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.

 

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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.

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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.

 

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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.

 

 

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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.

 

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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

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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

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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

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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.

 

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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.

 

 

 

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"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

 

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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.