Obeisance to Thee, O Bhava!

Thou art the form of Earth, Water, Fire, Air, Ether, the Sacrificer, the Moon and the Sun. (Ashtamurti)

Thou art beneficent and abidest in all that is;

Obeisance to Thee!

Thou abidest in the Upanishads,

Thou art Shruti (Veda), Shruti owes her birth to Thee.

Thou art beyond the senses.

Thou art the eternal Mahah (All Might);

To Thee obeisance again and again.

Thou art neither gross nor subtle.

Thou art Shambhu (the Good).

Thou destroyest the ills of this world.

Obeisance to Thee, O Bhava (Existence)!

Thou art far beyond all polemics.

All-knowing Thou art and grantest the fruits of penance,

And the fourfold aims of human life.

Obeisance to Thee and again obeisance!

Thou hast no beginning, no middle and no end.

Thou dispellest all fear.

Attributeless art Thou and great.

Yogins alone can meditate on Thee;

To Thee obeisance and again obeisance!

Thou art the Universe, and beyond thought.

Thou destroyest the pride of Kama.

Thou annihilatest Time (Kala).

On Thy forehead shines the Moon,

To Thee obeisance again and again!

Thou eatest poison and

Art seated on the constantly moving Vrsha (Bull of Dharma).

The flowing waters of Ganga holds like a string

Thy matted locks in place;

To Thee obeisance!

Pure Thou art and purifiest,

Thou art the innermost Atma of the pure.

Thou art the Destroyer of Tripura.

Thou art all and Thy name purifies;

To Thee obeisance!

Thou grantest enjoyment and liberation to Thy votaries,

And art to them devoted.

Thou hast no home, no cloth to cover Thyself,

Yet art Thou the Ruler of the Universe;

To Thee obeisance again and again !

Thou art the root of the Three (Brahma, Vishnu, Rudra).

Thou hast three eyes. Obeisance to Thee!

Thou art the Light of the three lights (Sun, Moon, Fire).

Thou destroyest rebirth;

To Thee obeisance!

The gems in the diadems of Devas and Asuras tint,

With a rosy tint, Thy feet.

Charming and beloved Thou art,

And hast to Thy beloved given half Thine own body;

Obeisance to Thee again and yet again!

~Sri Sharada Tilaka XX:149-160 (translated by Arthur Avalon)

Aum Namah Shivaya.

Sutras and Tantras

Sutra [सूत्र] means thread, derived from /siv/, to sew. When applied to scripture (shastra, शास्त्र), it means a text wherein core ideas around a certain subject are stitched or sewn together. Technically, sutras are written in a very terse language, making them easy to memorize. The language is so terse that context is often left out, and it is very difficult to understand sutras without extensive commentary or explanation. Sutra literature of Sanatana Dharma comprises of hundreds of texts that begin, historically, at the end of the Vedic age covering a every imaginable subject from Vedic rites and rituals, philosophies, linguistics, Dharma, bhakti, medicine, astronomy, etc. In many cases, a sutra text forms the foundational basis for a given system. For example, Yoga Sutras of Patanjali is the first encoding of Yoga philosophy.  

Famous extant sutras of Shaivism include the Pashupata Sutras, Shiva Sutras, Vatulanatha Sutras, and Meykanda Sutras (Sivagnanabodham). Early core of early Shaivite Tantras (Agamas) also likely began as sutras, even if they don't fit into the category of terseness in language. This principle is clear in the Nishvasatattvasamhita, and implied in the titles of Svayambhuva and Raurava Agamas both of which are termed sutra-sangraha (collection of sutras). 

The literal meaning of tantra [तन्त्र] is loom, derived from /tan/, to stretch. When applied to shastra, it means a text wherein a complex range of ideas are woven elaborately together incorporating both philosophy and practice. Tantras are generally written in poetic meters (shloka or anushtup chandas) and are very voluminous. Tantra literature of Sanatana Dharma comprises of hundreds of texts that also begin, historically, after the end of the Vedic age and experienced efflorescence during the first millennium of the common era. Tantric literature spans a variety of topics, but largely focusing on ritual, practice, theology and philosophy. Whereas the Vedic literature espouses a fire ritual called Yajna, the Tantric literature endorses a ritual called Puja using consecrated icons and recommended for the Kaliyuga, the age of discord. 

Generally, the extant Tantric texts of Sanatana Dharma are divided into three categories - Shaiva, Shakta and Vaishnava. The Shaiva-Shakta system is conjoined and the Tantras of this system represent a continuum of ever-evolving esoteric knowledge traditions which presuppose older, simpler forms of the same. Therefore, the epistemology and ontology of both is similar, if not the same. Hundreds of Tantric texts or Agamas have come into existence through the sub-traditions of the Shaiva-Shakta system; most of them lost and many of the remaining untranslated. The Tantric literature of what we term Shaivism proper encompasses the 92 principal Shaiva Agamas divided into 10 Shiva, 18 Rudra, and 64 Bhairava Agamas. While this system of thought within Sanatana Dharma has remained distinct, running parallel to the Vedic-Vedantic system, in truth the latter has been strongly influenced and subsumed by it.

Aum Namah Shivaya. 

Nishkala and Sakala Shiva

Within Shaivite theology and philosophy, we come across these two terms - Nishkala Shiva (निष्कल शिव) and Sakala Shiva (सकल शिव). Today, we deal with these terms. 

Nishkala means without parts or divisions. It is that aspect of Shiva that is beyond space and time, the Formless Absolute, the Transcendent, known as Paramashiva (परमशिव) or Parashiva (परशिव) in Shaiva-Shakta Agamic parlance, and Parabrahma (परब्रह्म) or Nirguna Brahma (निर्गुण ब्रह्म) in Vedantic parlance. 

The knower of the truth of the real nature of the thirty-six tattvas first dissolves all these paths into the body, [then from] the body into prana, prana into intellect, intellect into void, and finally void into consciousness. In this way, this kind of yogin becomes permeated with consciousness not dependent on anything external. Then he experiences consciousness as Paramashiva, and transcending even that state, he experiences himself as being immanent as well. (Tantrasara of Mahameshvaracharya Abhinavagupta, Chapter 7) 

Yet, the Absolute Reality is not limited to transcendence, and indeed incomplete without immanence. The Transcendent, known as Vishvottirna (विश्वोत्तीर्ण) or Vishvadhika (विश्वाधिक) in Shaivism is an organic whole with the Immanent, known as Vishvarupa (विश्वरूप) or Vishvamaya (विश्वमय). It has no parts nor can be divided, but only so done to foster our understanding and realization. Shaiva monism does not negate objective reality, but accepts it as an expression, an ever-changing experience of the Absolute Reality's own and inherent free Will. That Infinite Consciousness of the Absolute (Prakasha/प्रकाश) is never still, but brimming with Activity (Vimarsha/विमर्श) - the activity associated with the realization of it's existence. Paramashiva is never without Parashakti. 

The objective reality or the universal experience of the Absolute is described in the grossest sense as the 118 or 224 bhuvanas (भुवन/planes of existence) that exist at various levels as we go within. In a more subtle sense, it is described as the 36 tattvas (तत्त्व/essences) upon which the bhavanas are founded. And in the subtlest sense, it is described as the 5 kalas (कला/units or digits), which underlie and envelope the tattvas. 

Now that aspect of Shiva that is associated with the 5 kalas (and hence the 36 tattvas and 118 or 224 bhuvanas) is called Sakala Shiva. This the Immanent Divine, of myriad forms, qualities and attributes, associated with time and space, cause and effect, the very foundation of all objective reality. In Vedantic parlance, that is Saguna Brahma (सगुण ब्रह्म). 

Nivritti kalâ operates in the earth principle (prithivi tattva), pratishthâ from the water principle (jala) to prakirti, vidyâ kalâ from above prakriti to mâyâ, and from above mâyâ, Shâktâ operates. Šhiva is considered to be beyond the kalâs, for He is Nishkala; how­ever, for the purpose of meditation, He is said to possess a kalâ named shantatita. (Tantrasara of Mahameshvaracharya Abhinavagupta, Chapter 10) 

In terms of iconography, Nishkala Shiva is represented as the Shiva Linga, which is the "formless form." Sakala Shiva is represented in myriad anthropomorphic forms known as the Maheshvara Murtis. The juncture between the Sakala and Nishkala is the Sakala-Nishkala, which is represented as the Panchamukha (पञ्चमुख) or Five-Faced Linga, which is the Sadashiva Murti, and represents the Panchabrahma (पञ्चब्रह्म) doctrine of the Yajurveda. Sadashiva is the highest ideation of personified Godhead in Shaivism and the single pointed intersection between the continuum of the multiverses of objective reality and limitless Divine Consciousness.

In the Sadashiva Tattva, there is Lord Sadashiva presiding over the world called Sadashiva-bhuvana. He is surrounded by the retinue of eight Rudras such as Jvalini and others, whose appearance is characterized as the Sakala-Nishkala. (Srimad Mrgendra Agama XIII:162). 

Aum Namah Shivaya.