Abhinavagupta was born in a Kayastha family of scholars and mystics who whose ancestors were immigrated from Ujjain by the great king of Kashmira, Lalitaditya Muktapida. He studied all the schools of philosophy and art of his time under the guidance of as many as fifteen (or more) teachers and gurus.[2]: 35 In his long life he completed over 35 works, the largest and most famous of which is Tantrāloka, an encyclopedic treatise on all the philosophical and practical aspects of Kaula and Trika (known today as Kashmir Shaivism). Another one of his very important contributions was in the field of philosophy of aesthetics with his famous Abhinavabhāratī commentary of Nāṭyaśāstra of Bharata Muni.[8]
Abhinavagupta (Abhinav Gupta) was a distinguished philosopher, aesthete, and saint. He was one of the most outstanding Acharyas of the Monistic Shaivism. His exact date of birth is not known but we learn from references about him in his works Tantraloka and Paratrimshika Vivarana that he lived in Kashmir about the end of the tenth and beginning of the eleventh century A.D. The earliest known ancestor of Abhinavagupta was a famous Brahmin Attrigupta a great Shaiva teacher and scholar of Kanauj, who had been invited to settle in Kashmir by King Lalitaditya.
Abhinava Gupta was thus born into a family which had a long tradition of scholarship and devoutness for Lord Siva. His father Narasimhagupta (Cukhulaka) and his mother Vimalakala were a great influence in his life and it is believed that they both underwent austerities to be bestowed with an extraordinary son with spiritual powers.
Traditionally believed to have been a Yoginibhu (born of a Yogini), he mastered subjects like metaphysics, poetry, and aesthetics at a very young age. He possessed all the eight Yogic powers explained in Shastras. His biographers observed six great spiritual signs as explained in ‘Malinivijayotara Shastra’, in him. Kashmir Shaivism is classified by Abhinavagupta in four systems viz. Krama system, Spanda system, Kula system and Pratyabijnya system. ‘Krama’ deals with space and time, ‘Spanda’, with the movement, ‘Kula’ with the Science of Totality, and ‘Pratyabijnya’ with the school of Recognition. (Ref G.T. Deshpande’s monogram on Abhinava Gupta for detailed explanation)
His two major works on Poetics, Dhavnyalokalocana and Abhinava Bharati point toward his quest into the nature of aesthetic experience. In both these works Abhinava Gupta suggests that Aesthetic experience is something beyond worldly experience and he has used the word ‘Alaukika’ to distinguish the former feeling from the mundane latter ones. He subscribed to the theory of Rasa Dhvani and thus entered the ongoing aesthetic debate on the nature of Aesthetic pleasure.
Rasa--roughly translated: "as emotive aesthetics" - is one of the most important concepts in classical Indian aesthetics, having pervasive influence in theories of painting, sculpture, dance, poetry, and drama. Rasa theory argues that the presentation of emotions is the proper object and domain of poetic discourse. Bharata in Natyashastra his pioneering work on Indian dramatics mentions eight rasas and says Rasa is produced when ‘Vibhaava’, Anubhava and Vyabhichari bhava come together.
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Abhinavagupta was born in a Kayastha family of scholars and mystics who whose ancestors were immigrated from Ujjain by the great king of Kashmira, Lalitaditya Muktapida. He studied all the schools of philosophy and art of his time under the guidance of as many as fifteen (or more) teachers and gurus.[2]: 35 In his long life he completed over 35 works, the largest and most famous of which is Tantrāloka, an encyclopedic treatise on all the philosophical and practical aspects of Kaula and Trika (known today as Kashmir Shaivism). Another one of his very important contributions was in the field of philosophy of aesthetics with his famous Abhinavabhāratī commentary of Nāṭyaśāstra of Bharata Muni.[8]
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Abhinavagupta (Abhinav Gupta) was a distinguished philosopher, aesthete, and saint. He was one of the most outstanding Acharyas of the Monistic Shaivism. His exact date of birth is not known but we learn from references about him in his works Tantraloka and Paratrimshika Vivarana that he lived in Kashmir about the end of the tenth and beginning of the eleventh century A.D. The earliest known ancestor of Abhinavagupta was a famous Brahmin Attrigupta a great Shaiva teacher and scholar of Kanauj, who had been invited to settle in Kashmir by King Lalitaditya.
Abhinava Gupta was thus born into a family which had a long tradition of scholarship and devoutness for Lord Siva. His father Narasimhagupta (Cukhulaka) and his mother Vimalakala were a great influence in his life and it is believed that they both underwent austerities to be bestowed with an extraordinary son with spiritual powers.
Traditionally believed to have been a Yoginibhu (born of a Yogini), he mastered subjects like metaphysics, poetry, and aesthetics at a very young age. He possessed all the eight Yogic powers explained in Shastras. His biographers observed six great spiritual signs as explained in ‘Malinivijayotara Shastra’, in him. Kashmir Shaivism is classified by Abhinavagupta in four systems viz. Krama system, Spanda system, Kula system and Pratyabijnya system. ‘Krama’ deals with space and time, ‘Spanda’, with the movement, ‘Kula’ with the Science of Totality, and ‘Pratyabijnya’ with the school of Recognition. (Ref G.T. Deshpande’s monogram on Abhinava Gupta for detailed explanation)
His two major works on Poetics, Dhavnyalokalocana and Abhinava Bharati point toward his quest into the nature of aesthetic experience. In both these works Abhinava Gupta suggests that Aesthetic experience is something beyond worldly experience and he has used the word ‘Alaukika’ to distinguish the former feeling from the mundane latter ones. He subscribed to the theory of Rasa Dhvani and thus entered the ongoing aesthetic debate on the nature of Aesthetic pleasure.
Rasa--roughly translated: "as emotive aesthetics" - is one of the most important concepts in classical Indian aesthetics, having pervasive influence in theories of painting, sculpture, dance, poetry, and drama. Rasa theory argues that the presentation of emotions is the proper object and domain of poetic discourse. Bharata in Natyashastra his pioneering work on Indian dramatics mentions eight rasas and says Rasa is produced when ‘Vibhaava’, Anubhava and Vyabhichari bhava come together.