Abstract

This paper discusses the meaning of an image rarely used within the religious and philosophical corpus of ancient India in order to describe the ultimate nature of God and the human being: a wall or canvas (Sanskrit, bhitti). The usage of such a peculiar image belongs to Abhinavagupta, the great exegete of the Tantric tradition who lived in Kashmir between the tenth and eleventh centuries A.D. After presenting some antecedents, the paper focuses on key passages taken fromAbhinavagupta’s work and shows how, far from being secondary, the image of a wall possesses a remarkable consistency and expressive power in accordance withAbhinavagupta’s doctrinal presuppositions, in particular his commitment to a dynamic and ultimately paradoxical view of the divine realm, the universe and salvation