तन्त्रसार (महामाहेश्वर अभिनवगुप्त - तन्त्रालोक का प्रामाणिक सार-संग्रह सटीक)

known as Śiva, Mantrameheśvara, Mantra, Vijñānākala, Pralayākala and Sakala. They are possessed of Śaktis. Their number is also seven. Thus counting Śaktis and Śaktimān the number becomes fourteen. Counting svarūpa, that is, the object in itself with the fourteen all the tattvas from Pṛthvī to Prakṛti each have fifteen aspects. The Lord is possessed of three Śaktis which are known as Parā, Parāparā and Aparā. The transcendent Śakti func- tions as the subject ( mātṛrūpa ). She is the Parāśakti who is inseparably united with the Supreme Subject. The Parā- parā Śakti is the instrument ( pramāṇa ) and the Aparā Śakti operates as the object of experience ( meyarūpaḥ ). The earth and others have their distinctive svarūpa, that is, they are objects as they are. In other words, it may be stated that from Prakṛti down to the earth they shine as objects without having the reflection of any limiting adjuncts of the subject and its instrument,¹ This is said to be the pure svarūpa nature of objects. It does not rest in the subject but on the contrary, it has its rest in itself ( Svātmaniṣṭham ). It should be noted in this context that the object as such shines in this distinctive way by the grace of Aparāśakti. The pure objective aspect of all the tattvas from the earth to Prakṛti broadly come under the Nara group, the basic con- cept of Trika as characterised by Nara, Śakti and Śiva. But when Śaktis related to different subjects become predominant and the object in its turn rests in them, it is then known to be its Śākta form. It shines thus by the grace of Parāparā Śakti. These Śākta forms are seven because the number of Śaktis related to different subjects are seven. But when the Subject possessed of Śaktis become predominant and the

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१. मातृमानाह्युपाधिभिरसंजातोपरागकम्—तं० आ० १०.१०