Abhinavagupta: The Kula Ritual as Elaborated in Chapter 29 by John R. Dupuche

By John R. Dupuche

During this work,he describes many of the tantras and locations in their apex the main severe of them, the Kula ritual. It additionally presents a translation of Jayaratha's remark. the Kula ritual leads the practitioner to extra exalted levels of mantras to arrive the top point of awareness, the "mantravyapti", the pervasion of the chant. the person that is familiar with this pervasion is a Bhairava..

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The elucidation needs to be read both back­ wards and forwards. Thus, the same paraphrase just mentioned, Jr. 1 04b. l , prepares the reader for the description of intercourse which starts at sl. l 04cd- l 05ab. Does Jayaratha read more into Abhinava's text than is present? In general the answer is no. 96, which he interprets as 'must'. Does he read all that is available in them? It is most unlikely since a finely wrought text such as TA 29 admits of many readings. Jayaratha 33 The commentary from Jayaratha's own pen amounts to more than 1 1 50 lines of about 1 8 syllables each.

23. 24. ibid. 58. 672. The Bhairava school has two streams: Right Hand (dak�it;�a) or Southern, and Left Hand (viima) or Northern. The four goddesses of the Dak�il}a school, whose deity is called B hairava, are S u�kii, S iddhii, Utpalii, Raktii/Cal}c;iika. Alexis Sanderson, 'Mal}c;iala and Agamic identity in the Trika of Kashmir', in A. Padoux, ed. Mantras et diagrammes rituels dans l'Hindouisme, Paris, Editions du Centre National de Ia Recherche Scientifique, 1 986, p. l 86 footnote 84. The four goddesses of the Varna school are Jayii, Vijayii, Jayanti and Aparaj itii.

The Tantriiloka is destined for his own disciples and is there­ fore directed to those who are already acquainted with the sub­ ject-matter. It is not a work of popularisation, not even of haute vulgarisation and, trying to cover the whole range of tantric lore, summarises and does not elaborate. What was perhaps clear to his entourage i:s allusive and cryptic to readers who do not have their background. I. TA 37. 83cd. 24 The Kula Ritual (b) Models of Composition Rastogi suggests that Abhinava uses four models in composing his Tantriiloka .

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