Author note: Translated through Lyne Bansat-Boudon and Kamalesha Datta Tripathi
Publish 12 months note: First released February 1st 2013
The Paramārthasāra, or ‘Essence of final Reality’, is a piece of the Kashmirian polymath Abhinavagupta (tenth–eleventh centuries). it's a short treatise within which the writer outlines the doctrine of which he's a awesome exponent, specifically nondualistic Śaivism, which he designates in his works because the Trika, or ‘Triad’ of 3 ideas: Śiva, Śakti and the embodied soul (nara).
The major curiosity of the Paramārthasāra isn't just that it serves as an advent to the proven doctrine of a practice, but additionally advances the concept of jiv̄anmukti, ‘liberation during this life’, as its center topic. additional, it doesn't confine itself to an exposition of the doctrine as such yet every now and then tricks at a moment feel mendacity underneath the obtrusive experience, particularly esoteric suggestions and practices which are on the middle of the philosophical discourse. Its commentator, Yogarāja (eleventh century), excels in detecting and clarifying these numerous degrees of that means. An advent to Tantric Philosophy offers, in addition to a severely revised Sanskrit textual content, the 1st annotated English translation of either Abhinavagupta’s Paramārthasāra and Yogarāja’s commentary.
This ebook could be of curiosity to Indologists, in addition to to experts and scholars of faith, Tantric experiences and Philosophy.
Read Online or Download An Introduction to Tantric Philosophy: The Paramārthasāra of Abhinavagupta with the Commentary of Yogarāja (1st Edition) PDF
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Extra info for An Introduction to Tantric Philosophy: The Paramārthasāra of Abhinavagupta with the Commentary of Yogarāja (1st Edition)
To which an anxious Ramakrishna replied, ‘No, no! Let things be as they are. ’74 Following periods of samadhi during the play itself, Ramakrishna declared to Girish: I found that it was God himself who was acting the different parts. Those who played the female parts seemed to me the direct embodiment of the Blissful Mother, and the cowherd boys of Goloka the embodiments of Narayan himself. 75 As Mukherjee noted, Ramakrishna’s engagement with popular drama was a crucial event, since it transformed orthodox evaluations of the theatre as a space for divine experience.
At this point many in the audience burst into tears. Sri Ramakrishna remained still and looked intently at the stage. A single tear appeared in the corner of each eye. The performance was over. Sri Ramakrishna was about to enter a carriage. A devotee asked him how he had enjoyed the play. ’73 In December 1884 Ramakrishna visited the Star Theatre again and watched a play about Prahlada. ”’, to which an anxious Ramakrishna replied, ‘No, no! Let things be as they are. ’74 Following periods of samadhi during the play itself, Ramakrishna declared to Girish: I found that it was God himself who was acting the different parts.
When Ravana approaches, his daughter-in-law of course hides. A messenger warns Ravana of his peril. Ravana boasts that he has a magic arrow, and cannot be defeated. The monkey god [Hanuman], however, in disguise as a holy fakir, manages to obtain this arrow from Ravana’s wife. 52 The battle scene is depicted in a Chore Bagan Art Studio chromolithograph dating from the early 1880s (illus. 14). Ram crouches in front of Hanuman and fires his arrow towards Ravan who sits atop a rath (chariot) in front of the goddess Kali.
An Introduction to Tantric Philosophy: The Paramārthasāra of Abhinavagupta with the Commentary of Yogarāja (1st Edition)