Kashmir Shaiva Darshan – An artists interpretation of Sutras and Vakhs. An exhibition of Sharda Paintings by Subhash Chandra Razdan, titled Akhshra held recently at Jammu

 

Apaintings' titled Akshara was held recently at Jammu. Before visiting Kala Kendra, the venue of the exhibition, I thought it would be something like the Persian calligraphy known as Nastaliq (Also used to write Kashmiri) and developed and improvised in the fourteenth century by Iranian calligrapher Mir Ali Tabrizi, by combining two major scripts of his time, i.e. Naskh and Taliq. The difference, I thought, would be that of the alphabet, the Sharada script, as was clear by the title. However, seeing the exhibition, I was surprised that the painting exhibition was not about the Sharada calligraphy, but much more beyond that. It was an exhibition about a trained artist's interpretation of the Shaivite thought in which the Sharada alphabet or the Sharada script was used as a medium. Before coming to an understanding of what the paintings meant to me, certain basic concepts of the Non-dual Shaivism or Kashmir Shaiva Darshan, the Trika system need to be kept in mind. Kashmir Shaivism, like other schools of Indian philosophy has its own Agamas and tantras, and this philosophy developed gradually through the historical change, over a millennium. As we are aware, Shiva became, the absolute, from the primitive non-Aryan God, often referred to as the "Proto-Shiva".  Developed in Kashmir sometime in the eight / ninth century, in its present form, the monistic philosophy got enriched and propagated far and wide when in the 9th century, Acharya Vasugupta (860/875-925) discovered Shiv Sutras, the seventy-seven Aphorisms, engraved on the surface of a rock at Shankar Pal at the Mahadeva Giri, (Mountain stretch inSrinagar, named after Lord Mahadeva). For this Vasugupta 'received initiation' in a dream from Lord Shiva himself. Shankar pal, the sacred rock, still exists near the bank of a rivulet in the Dachigam wild life park and is a place of Pilgrimage. Interestingly Ksemaraja, the chief disciple of Mahamaheshwar Abhinavagupta acharya has written a commentary on these Sutras known as Vimarsini.Somananda wrote Shivadrishti which has the seeds of Praytabhijna school, that was later distilled by Utpaladev Acharya. The non-dualistic, monastic, philosophy was refined by the enlightened spiritual master, "the Pride of Kashmir" Mahabaleshwar Abhinavagupta (924-1020) who integrated monistic and tantric traditions and laid the foundations for the wide 'acceptance of the supremacy of Shiva and his consort Parvati'. This was done through his most important work Tantraloka. And latter making it more comprehensible by writing a gist titled Tantrasara. Kashmir produced many masters who not only propagated Trika but practiced and became siddhas of the highest order. These include nineth century sage Acharya Somananda who wrote the foundational book of Praytabhijna school, Shivadrishti. Utpal deva whose most important philosophical work Isvarapratyabhijna Karika also became the foundational work for this school. It is based on this philosophy that Madhav acharya, the 14th century Vaishnavite, called Trika as PraytabhijnaDarshanam. In the 19th century, Jag dish Chandra Chatterjee, who was the first head of the Research Institute, established by Maharaja Pratap Singh, named Trika as "Kashmir Shaivism", in his book of the same title, "to differentiate this from other forms of Shaivism". The term Kashmir Shaivism is now commonly used instead of Trika. Apart from these there is one more basic treatise, the Spandakarika. This has been 'written by Vasugupta and propagated by Kallatabhtta' the direct disciple Vasugupta. Spanda is throb, the divine creative pulsation. Karika means a verse. Swami Lakshman Joo, the doyen of Shaivagama terms this as a movement less movement or a stable movement. The Spanda is but continuous. Acharya Moti Lal Pandit says Spanda is activity. This is full of life. There are two principles in this, Action and Cognition. Spanda-Karika is a commentary on the Shiv Sutras. While Shiv Sutras deal with the Prakasha aspect, the Spanda Karika deals with the Vimarsha aspect of Kashmir Shaivism. It is this Prakasha and Vimarsha aspects, apart from the Shiv sutra interpretation that has been pre-dominantly used while drawing these paintings, that were exhibited at the exhibition. 'Prakasha is the nature of Lord'. It is the light of consciousness'. 'Vimarsha is the pulsation of consciousness, the vibration that gives rise to all forms and experiences. In Kashmir Shaiva Darshan, this consciousness, 'I-Consciousness, is the pure boundless consciousness of Shiva'. While Prakasha is the Lord, the Absolute, Vimarsha is its luminosity, the Shakti Tattva. This Prakasha is also Knowledge: As no knowledge is possible without Prakasha. This is like day and night, light and darkness, the colours, black and white. The 'world 'is the "concealed state of the consciousness." This is the expansion of the power of Shakti. There is one more concept in Kashmir Shaivism that we need to mention here to understand the significance of the paintings clearly. This is Matrika Chakra. This concept is elaborated and explained by Mahamaheshwar Abhinavagupta in a Tantric treatise Paratrishika Vivarana. In this the Devnagari Vowels represent Shiva, and the Consonants represent the Shakti. So, the 'word' is the result of the divine union of Shiva, the vowels and Shakti, the consonants. (Esoteric tantric doctrine of Matrika can be traced in the Svetasvatara Upanishad). In Shaiva Darshan this 'Word' is cognition. It is the energy of speech, Vakh Shakti. In the words of Acharya Moti Lal Pandit, 'if there is no word, there is no cognition. Word has meaning. This meaning is qualified by guna. Like the word cotton would lead to thread and this thread would lead to cloth'. And if there is no word, there is no meaning, there is no knowledge. Meaning is inherent in the 'word.' Somananda calls this Shabda Brahma. But to gain knowledge, light- 'prakasha' is essential. The darkness, both physical and spiritual need to be removed. In terms of Trika philosophy, the word is Vakh. It is this Vakh that ultimately culminates in the gross Vaikhari. And in the words of Sh. Moti Lal Pandit, the transcendent and the absolute as Word represent the absolute unity. And in that gross stage of Vaikhari, the tongue and the lips are used. Vak is also the Guru; the teacher. Vak is the ocean of knowledge: The guide and the torch bearer. In the context of Sharada calligraphy, one should not miss to mention that apart from Kaula school of Shaiva Darshan, there also is another school of Shaivite thought known as Krama (Order). In this the Shakti, the energy Tattva of Shiva is worshiped through 12 Kalis. The credit to do a synthesis of all these goes to Mahamaheshwar Abhinavagupta acharya. It is in this background of the 'word', the Vakh that the 'poetry' of Laleshwari, Lal Ded has come to be known as Vakh. For an Artist, before an object comes into being there must be a desire. He has an unclear line of thought. But after Vimarsha, the pondering comes into being. He too is a creator. He must have interest in creation. And the story of the artist who displayed his creative art work at the exhibition is too interesting. But before going into his personal details, let me tell the esteemed readers what the exhibition meant to me. For this Iexplain, three paintings in the words of the artist himself. The artist is Subhash Chandra Razdan Sahib. I take up a painting depicting or interpreting the fifth (1.5) Shiv Sutra Udyamo Bhairva. And one Lal Vakh Udyamo Bhairavah. This painting titled "Udyamo Bhairavah" is not merely a visual art work-it is an experiential map of Trika Darshan (Kashmir Shaiva उसमें हवः philosophy). This can be explained on three layers. The sutra-meaning, the language of colour, and the form of Bhairavah, as depicted here. In Trika, udyama does not mean effort or exertion. It signifies the sudden, spontaneous surge Photo Credit Kamal Ganjoo of consciousnessUdyamo Bhairva means the dance of the energy of Shiva. Shiva who is Swatantra, (Having free will) and whose energy is Shakti. That effort, the flashing forth of active awareness that instantaneously makes universal consciousness shine, is Bhairava (Swami Lakshman Joo) The painting precisely depicts this. A sudden flash or opening of transcendental consciousness. That "flash" itself is udyama. 20 In this painting, the colours have been chosen carefully, not to decorate the canvas but to depict the principles of consciousness (the tattvas), like the deep blue colour that represents the Anuttara Consciousness (Eiva who sustains everything without disturbance). The Violet symbolizes Vimarsha Shakti (selfawareness, I am this). Yellow-Green Luminous Spots depict the Moments of Praytabhijna (recognition). These are the visible signs of Ud yama occurring within awareness. Here we must remember that in Kashmir Shaiva Darshan, the universe is not a chaos but a cosmos. 'Everything seems to be related to everything else, and the whole seems to be well arranged, co-ordinated and organized into a system, each object having its definite place and function in respect of the whole, and each being subject to a particular kind of behaviour'. It is in this context that soft red tones have been used. They are the ccreative movement of Shakti. That is neither violent nor destructive. And as Tattvas they merge with each other. Dhanam means creative activity and in the words of Khemraja, another master of Trika, the world is contained in the Spanda principle, it comes out of it. Here 'Bhairava is not an idol, but 'the state of being'. 'Consciousness in perpetual self-arising'. The vertical emergence resembles a pillar of awakened awareness. Consciousness standing upright in itself. The centre of the painting is most concentrate, like the cave of the heart (h[daya-guhâ) formless, nameless-yet the source of all forms. The most significant feature of this painting is that Bhairava has not been shown as fear inducing tantric Bhairava, but the one who enables self-recognition (Aham Vimarsha, self-consciousness, or l-consciousness). It is in this context that there is no skulls or blood no weapons or terror and no imagery of destruction, explains Subash Razdan, the Artist. For an artist, the brush through the medium of colours brings out what he conceives in his mind. Razdan sahib has also painted sixty Lal Vakhs. Here we take up one as representative of the artist's creative exposition. This Vakh of Lal Ded also has a Shaivite concept in the background. She is talking about Razdani, the human body. For Shaivites human body is no less than a temple. Because Shiva resides in one's heart and one is but only his Ansh. This body is a city with nine gates (the eyes, the ears, the nostrils, the mouth etc). Holy Bhagvat Geeta ji in chapter 5 verse 13 describes human body as a city of nine gates. And Lal Ded says, when she desired to build this city, the carpenter who came to do the job was 'Abakh', ignorant, unskilled. And therefore, she felt like a lock-less shop in a bustling market. And no one would know that pain that she suffers for not being able to built this 'Tirtha', the place of pilgrimage. There are many interpretations of this Vakh. To me, this highlights Lalla's struggle to achieve the state of being one with the Lord. Let us confine to the interpretation of the painter. Razdan sahib explains: "I have clearly depicted the Vakh between the two colours with undefined form of sharp wooden pieces. The two colours stand for the struggle of self to selflessness". Examined through the prism of the artist, the painting depicts the confession of inadequacy, that Lal Ded is alluring to. The Two Colours pale yellow on the left and the Earth light on the right side, are the colours of Self "! Selflessness. They Suggest ego-consciousness that still seeks purity. It is light, hopeful, but unfinished. That is exactly why Lal Ded cries in pain and the outpouring results in this Vakh. At the exhibition, I was thrilled and elevated on seeing the paintings that explain the concepts of Kashmir Shaiva Darshan. Painting Lal Vakhs and Shiva Sutras and using Sharada alphabets is something new and unique. Before this renowned artist sh. Gokul Dembi sahib has also drawn Shiva Sutras paintings, (acrylic on canvas), but he has used human forms. This style of using Sharada alphabet/ script is unique and original to Subash Chandra Razdan, who is a trained painter. He makes me understand the difference. "My work is different in the sense that it reflects beauty of Sharada calligraphy, the beauty of Sharada script. These Sutras are in abstract form that I call Aakarin Nirakar". (A form in formlessness). If this style and trend is followed by other artists, both young and seniors, Kashmir Shaivism would be easier to comprehend and misconceptions about Laleshwari, the Shiv Yogini would be dismantled once for all. To highlight the significance of this trend in painting, there could be no better expression and appreciation than what the acclaimed Art Historian from this part of the country, esteemed Dr. Lalit Gupta sahib had to say. "Sharada is the script of enlightenment. That aspect has been worked out. He has exhibited that an alphabet can become more than a sound. A sort of symbolism. Razdan has unravelled that symbolism for the common man. This symbolism is definitely unique". Unique, the paintings are unique in ways more than one. These paintings are done on different grades of canvas but are not framed in the usual style. Razdan sahib has painted on black and white Polyester (Remember Light and darkness) and has made a scroll of it. Black and white polyester gives him the freedom to use the cloth from both sides. A colour on one side helps in creating a water mark on the other side to have a desired effect. Making a painting on a scroll has a tradition. In Kashmir, 'Zatuk' and 'Nishipatr' (Nakshatra Patri), the horoscope and the almanac, prepared by great Guruji's (scholars) would be in scrolls. And these written in Sharada scripts would fascinate the artist within Subash Razdan, when he was not even a graduate. "I would watch my father reading Shri Bahurupa- Garba Stotra (Stotra associated with Svacchanda Bhairava and very popular in Kashmir), Shiv Sutra and other holy scriptures routinely as part of morning and evening prayers. All these were in Sharda script. Then I also met two great stalwarts of Kashmir Trika, the two great Sanskrit Scholars, Shyam Sundar Jatto at Kani Kadal, (The author of Sri Vidyadharstava. This writer stayed in his house for some time along with my father, when I was reading in class 8th) and then Sarvanand ji again at Srinagar. They had a huge collection of these Sharda manuscripts. I was so fascinated that Sarvanand ji gifted me one manuscript and that was my priceless treasure trove, when I had to migrate out of Kashmir in 1990. This was a coру of holy Bhagvat Geeta ji in Sharada. I still have preserved this. This fascination prompted young Razdan, who was studying in B. A. course at Amar Singh College, Srinagar, to join the 'hobby classes' at the Institute of Fine Arts at Jawahar Nagar, at a stone's throw from his college. (This institute had not taken shape as an institution till then). Finally in the year 1973, Razdan sahib landed at M.S. University Baroda, the ultimate destination for all art enthusiasts, and completed his Masters in Visualization and a one-year course in calligraphy in 1978. Earlier Razdan sahib had studied at Purshiyar school in his junior class. Purshiyar is a place in Habba Kadal area of Srinagar, Kashmir. [Habba Kadal the second bridge on river Vitasta in Srinagar is named after the last ruler of Shah Mir dynasty, Sultan Habib Shah (1555-1561 CE) and not poetess Habba Khatoon as some wrongly believe]. Razdan sahib taught at the institute of Music and Fine Arts at Jammu for a period of nine years. He also served as an Assistant Professor at the media education and researchcentre at the University of Kashmir from 1988 till 1990, when he had to leave due to the turmoil. Located, presently, at Ghaziabad in the National Capital 22 Region NCR of Delhi, Razdan sahib is a freelancer now. Interestingly, Subash Chandra Razdan sahib was the first Kashmiri Pandit who did Masters in Visualization from Baroda Faculty of Fine Arts, joining in the year 1978. Meeting and interacting with him was fascinating and enriching. He is a treasure of knowledge on his subject. I was astonished to know from him that in Kashmir, the tradition of painting deities and religious scriptures was a family venture for many families. He named some as Hastu's and Talpatalis. Those engaged with this Art would be called Murtsegar. It was very interesting to know that even in a family everyone was an expert in one or the other aspect of the Art. If someone was an expert in drawing the borders, he would do that job only. And there were experts who would use a particular colour in a painting, where ever that colour was to be used. Paintings, thus, generally would be the outcome of collective expertise. Razdan sahib has a deep understanding of not only Kashmir Shaivism but also of Upanishadic teachings. His painting of an Upanishadic mantra explains that. The Mantra is Ishavasyamldam Sarvam.). "ईशावास्यमिदम्सर्वम् ". This is the first verse (Mantra) from the Ishavasya Upanishad. Razdan sahib calls this 'Mahavakya', 'A Great Mantra "The mantra explains that 'All that exists in this universe is pervaded by the Divine". To me this verse is precisely what Nimesh and Unmesh (Manifestation and concealment) in Kashmir Shaiva Darshan means. Here the world is not created but it appears (Mani- fested) when Shiva opens his eyes, the world dissolves when Shiva closes his eyes and it sustains when Shiva's eyes are half open. So, the world is nothing but Shiva himself. Shaivite theor (Theory of Reflection) explains that. (All material world is the reflection of Shiva) But our focus is on Painting. When a group of Art Lovers, at the exhibition, asked Razdan sahib about the painting, he explained the concept: "At the top-centre, the large circular form dominates the space. The inner golden-yellow disc symbolizes pure consciousness-the luminous, formless presence of Isha (the Divine) that is self-existing and selfradiant. Surrounding it is a warm orange-red halo, representing the manifested world-energy, life, passion, movement, and the dynamic play of creation (Shakti). The subtle dotted border suggests permeability, implying that there is no hard boundary between the Absolute and the world. Emerging from the centre is a slender, flame-like or breath-like form, descending gently downward. This form can be read in multiple symbolic ways: As prana (life-breath) flowing from the cosmic source into embodied existence. As Spanda-the primordial vibration through which consciousness expresses itself. As the individual self (Jiva) arising from, yet never separate from, the universal Self". Dr. Lalit Gupta sahib sums up this so beautifully. "The form narrows and resolves into calligraphic text, visually uniting form and word, experience, and scripture. This signifies that wisdom does not merely remain abstract or cosmic; it incarnates into language, understanding, and lived awareness. The largely white background is intentional-it stands for Sunya-like openness, silence, and purity, allowing the viewer to feel the vastness in which all forms appear and dissolve". Subash Chandra Razdan sahib has not only enriched Kashmir art of painting but has given a new dimension to it. His parents late Amar Nath Razdan and Ichhavati also deserve the credit for that. Who knows that this style of painting Shiva Sutras may become a new trend and this may be called the Shaivite school of Paintings.■

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Courtesy:  Brij Nath Pandit Watloo   and Koshur Samachar- January-2026