Yoga of Synthesis in Kashmir Shaivam

Author(s): S S Toshkhani
Publisher: S S Toshkhani

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of dichotomy of thought, rescinding of dichotomic thought, and immediacy of plenary thought." xli
Finally, all the three types are viewed as means leading to samāvesha or corresponding forms of mystical absorption in Shiva-consciousness, the final goal of Trika yoga. The shămbhava or Divine form is marked by "an intense awakening of consciousness” free of thought-constructs; the shākta or Empowered form is attained by “pondering mindfully" (chetasā) on unmediated reality; the absorption attained by external yogic practices like the recitation of mantra, postures of the body (karna), meditation, the mystical letters (varna), formation of supports (sthānaprakalpanā) etc. is the aanava samaavesha or Individual form of absorption. In anupāya or the Null Means, samāvesha, possession or penetration is an insight into the true state of reality for the yogi where all the mental states are dissolved and constant awareness of oneness with undifferentiated consciousness emerges. This is what Trika or anuttara yoga means. THE FOUR-FOLD UPĀYA YOGA AND THE CLASSICAL YOGA OF PATANJALI
The threefold / fourfold upāya-yoga was systematized and firmly established by Abhinavagupta in his Tantrāloka as the authentic praxis of Kashmir Shaivism. It has the Mālinivijayottara Tantra as its earliest source-text, while the impact of the Vijñānabhairava Tantra, Netra Tantra, Svacchandatantra and the Shiva Sūtra has also been considerable in the development of this yogic tradition. Kshemarāja, Abhinavagupta's chief disciple, has also immensely contributed to it through his brilliant commentatorial works like the Spanda Nirnaya and Shivasūtra Vimarshini as well as the Pratyabhijñā Hridayam. Analyzing and elucidating some of its most important features and knotty aspects, Kshemarāja “reconciles Malinīvijayottara Tantra, Svacchandatantra, Vijñānabhairava and Netra Tantra with Spanda theories" on the one hand while on the other he “places the yogic process on a more solid footing by setting it against the backdrop of Patañjali's yoga”, says Navjivan Rastogi. Khi There is, however, some debate over the standard structure of Trika yoga, there being "an overt tendency to posit Tântric yoga as six-limbed (shadānga), distinguished from the eight-limbed (ashātnga) yoga of Patañjali”, to quote Rastogi again. Rastogi is of the view that though Jayaratha regards
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