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

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continued so long as they do not lose their separate entities
and blaze up as the Fire of the Great Lord. This Fire is
to be meditated upon as surrounded by twelve kālīs. These
kālīs are none but the flames of the wheel of Fire. This
Fire should be thought of as emitting out rays through the
outlets of eyes and others, which take their rest as the object
of external senses. The object is to be thought of as being
nourished by the creative energy of the moon, then it is
maintained and made manifest by the sun and finally it is
dissolved by the energy of fire so that it may be drawn in-
side and be made transcendent ( anuttara ).
When this dhyāna is continuously performed, the aspirant
soon realises that every object and the idea is nothing but pure
consciousness in essence. He further realises that creation
and other functions are essentially the play of the Lord.
✕ ✕ ✕
After dhyāna the text gives the view of uccāra. The
upgoing movement of prāṇa is commonly known as uccāra,
but really speaking, uccāra is of the characteristics of spanda
( vibration ), which is the very soul of it.
Prāṇa is of two kinds : the one is general ( sāmānya ),
and the other is specific ( viśeṣa ). In the former difference
of any sort is totally absent, while in the latter, on account
of distinctive activities the same prāṇa shows itself in five
forms known as as prāṇa, apāna, samāna, udāna and vyāna.
It is quite evident that these five have their base in the
general prāṇa.
On account of the vibrative move of prāṇa inarticulate
sound known as anāhatanāda becomes manifest. It goes on
sounding without any break in the heart of every living being.
This nāda is associated with two bījas, namely, sṛṣṭibīja ( sa )
and samhārabīja ( ha ).