The tradition of Kashmir Shaivism was transmitted from master to disciple centuries in a row, according to the method named "from mouth to ear". "The symbol of Shiva’s cosmic dance unifies mythology, religious art, and modern physics.
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Kashmir Shaivism has many artists manifesting their talents with Trika School sages & masters , who too had powerful artistic senses. Sage Abhinavagupta wrote several poems on Shiva's glory; like other Shaivite sages, most of his work was in verse.
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From Abhinavagupta’s point of view, art is an exterior as well as internal manifestation, is deeply spiritual. He indicates that art's role is to awaken an inexpressible taste, a sublime feeling, totally & surely different from common human perceptions.
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It has a general character, and it is a cosmic perception. On the basis of this intense emotion (anger, joy, fear, amazement, etc.), experienced in a fully aware manner, art determines the passage from individual (ego) to universal.
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Kashmir Shaivism appeared in the 9th century in the northern India, which was at the time a small feudal kingdom. The maharajahs were the patrons of the various religions.
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In Kashmir, Shaivite philosophy was kept simple. It did not prescribe any "tortures" for body nor brain through painful mortification; not also exterior practices of self-imposed control of mind, senses & breath, as in other schools of Hindu philosophy.
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On the other hand, the Kashmir Shaivism recommends a few precise methods of spontaneous meditation, free from any kind of repression and constraint of the mind or of the emotions.
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