Here, the word “preceding” means “causal priority.” God, who is manifest as the creator or the revealed form of existence, has Shabdabrahma as the source or primal ground of that manifestation. Just as waves rise from the ocean, but the ocean itself is the cause of the waves; similarly, God is the manifest form of consciousness, while Shabdabrahma is the unmanifest sound-form of that consciousness—from which God, creation, and all knowledge emerge.
In Tantra and Kashmir Shaiva philosophy, this concept goes deeper still. Here “Shabdabrahma” means “nada” or “spanda”—the primordial vibration of consciousness. When Shiva-consciousness spontaneously vibrates from within itself, both creation and the concept of God are revealed. Thus Abhinavagupta says—”Nadah parabrahmaṇo mukham”—nada is the mouth of Parabrahma, meaning the first manifestation of Brahma (Tantrāloka, 1.45). In other words, God, who is the conscious center of consciousness, has as the first effulgence or sound of that consciousness Shabdabrahma. Therefore, the first manifestation of silent supreme consciousness (parama or turīya consciousness) is nada or sound; God is the self-conscious form of that nada.
“Shabdabrahma is prior to God” does not mean that sound existed before God, but rather this—that from the primordial manifestation of consciousness (sound) itself, God’s consciousness is revealed in its essential form. Shabdabrahma here is the sound-form possibility of that supreme consciousness, while God is the manifest conscious form of that possibility. If we express this in metaphorical language—Shabdabrahma is the melody, and God is the music of that melody.
Therefore, when the Upanishads say “Omkāra is Brahma” (Māṇḍūkya Upanishad 1-2), its meaning is this—the concept of Brahma or God, creation and liberation—all are inherent in a primordial consciousness-sound called Shabdabrahma. Sound is Brahma, sound is manifestation, sound is the mouth of God. Hence it is said, Shabdabrahma is prior even to God, meaning that God, the universe, and humanity—all are the spontaneous play of that infinite consciousness-sound.
In Advaita Vedanta, Shabdabrahma is called the “manifest” form of Brahma—He who is formless consciousness in the “attributeless” (nirvishesa) state, when He manifests in the “attributive” (visesita) state, His first sign becomes sound. Shankaracharya says in his commentary on the Taittirīya Upanishad—”shabdabrahmaṇo hi paro brahmaṇo jñāpanam”—Shabdabrahma is the medium through which Parabrahma is revealed.
According to Tantra and Kashmir Shaiva thought, the concept of Shabdabrahma rests upon a profound philosophical principle, where sound is not seen merely as audible vibration, but as consciousness’s own pulsation. According to this doctrine, at the root of world-creation and its manifestation lies sound. This is a universal power, identical with Brahma.
This concept of Shabdabrahma is divided into four levels: Para, Pashyanti, Madhyama, and Vaikhari. These levels explain the progression of sound’s manifestation from consciousness’s formless state to gross articulated sound.
Para Sound: This is the highest and most subtle level of sound. Para means “supreme” or “transcendent.” At this level, sound is beginningless, endless, and formless. It is pure silent consciousness, where there is no duality or division. It is identical with Paramātmā or Shiva. Para sound resides in the deepest level of consciousness, where only pure existence prevails. It is the seed of all creation and the source of all sound, but it is not experienced as any kind of sound or vibration. Yogis can realize this level through deep meditation.
Pashyanti Sound: After Para sound comes Pashyanti, which means “that which sees” or “that which is becoming manifest.” At this level, sound is not verbal, but it can be felt. It is the vibration of feeling. At the Pashyanti level, consciousness begins to pulse in an unmanifest form, which is the primordial form of future thought or idea. Here sound is connected with meaning or concept, but has not yet transformed into clear sentences or sounds. Yogis gain vision of sound at this level, where thoughts or ideas emerge like pictures. This level is like the dream state, where ideas exist psychologically but are not externally manifested.
Madhyama Sound: When descending from Pashyanti to the Madhyama level, sound becomes clearer and more specific. Madhyama means “intermediate” or “middle.” At this level, sound takes the form of mental utterance. It is internal thought, reflection, or linguistic concept, which has not yet been uttered through the mouth. When we speak mentally or think about something, it belongs to the Madhyama level. At this level, sound has clear meaning and structure, but it is not audible. This is an important step in language creation, where grammatical structure and semantic connection occur.
Vaikhari Sound: This is the grossest and manifest level of sound. Vaikhari means “that which has been clearly spoken” or “that which is revealed.” It is articulated sound that we can hear and speak. When we talk, sing, or produce any kind of sound, it is the manifestation of the Vaikhari level. At this level, sound is fully manifested and establishes communication with the external world. Vaikhari sound is the primary medium of communication in our daily lives.
This entire ladder is the manifestation path of Shabdabrahma. These four levels show how supreme consciousness or Brahma gradually manifests itself through sound and language. In Tantra and Kashmir Shaiva philosophy, this process is also seen as the process of world creation, where Brahma manifests Himself from His unmanifest state to manifest form. This concept not only explains the origin of sound or language but unveils the mystery of creation and the depth of consciousness.
Shabdabrahma means that Brahma who manifests Himself in sound-form, and in sound-form again returns to silence. Just as in the sound Om (Aum), the sounds “A-U-M” indicate three states (waking-dreaming-deep sleep), and the final silence (turīya) that remains is Brahma. Hence it is said—”shabdabrahmaṇi niṣṭitaḥ yogī parabrahma bhavet”—the yogi who is established in Shabdabrahma realizes Parabrahma (Mahānirvāṇa Tantra, 5.42).
Therefore, Shabdabrahma is that form of consciousness where Brahma holds creation in sound-form and opens the path of liberation also in sound-form—this is called: “Nada is Brahma, speech is Shiva, Om is consciousness’s first pulsation.”
The word-pair “varābhaya” (vara-abhaya) is one of the most profound symbols of Indian Tantra, Shaiva, and Shakta philosophy. It is not merely a hand gesture, but consciousness’s dual expression—on one hand inner fearlessness, on the other outward grace. This gesture of the deity’s two hands, where one hand shows the abhaya mudra and the other the vara mudra, is called varabhaya. It is essentially the two aspects of consciousness’s supreme unity—self-liberation (fearlessness) and world-liberation (compassion).
Abhaya mudra means “fear not”—it is the symbol of the soul’s fearless certainty. The deity’s right hand is level with the chest, palm facing forward—as if assuring the entire world. This assurance is not external security; it is the profound declaration of self-consciousness—where consciousness is non-dual, there is no “other,” therefore no fear either. The moment it is known that “sarvam khalvidam brahma” (Chāndogya Upanishad, 3.14.1), meaning—certainly all this is Brahma, then fear completely dissolves. Abhaya mudra is the visible form of this supreme fearlessness—where the soul declares, “I am Shiva, I am consciousness, I am the supreme void.”
Vara mudra means “granting boons”—it is the expression of consciousness’s compassion or grace. The deity’s left hand extends downward, palm facing forward—as if blessing, bestowing life, knowledge, or liberation. It is that form of consciousness which flows from its own fullness into others. In Kashmir Shaiva philosophy, the last of Shiva’s five acts is “grace” (anugraha)—where Shiva absorbs all creation into himself and then awakens them again, so they may recognize their true being (Tantrāloka, 1.87). Vara mudra is the visible symbol of that grace-power—consciousness bestowing its own infinitude upon others.
Abhaya mudra and vara mudra together create “varabhaya”—which simultaneously symbolizes consciousness’s stability and expansion, withdrawal and manifestation, inner realization and outer compassion. With one hand the deity says—”There is no fear, I am here,” and with the other says—”I am giving you liberation.” This dual gesture is consciousness’s supreme completeness.
The finest form of these two mudras is seen in Mahākālī’s image. Kālī’s right two hands show abhaya and vara mudras—meaning, on one hand the assurance of fearlessness, on the other the boon of grace. And in her left two hands she holds sword and severed head—meaning, the cutting of māyā’s veil and ego. Contemplating this meaning deeply reveals—Kālī’s four hands are actually one consciousness’s four actions: destruction, creation, preservation, and grace. With her left two hands she cuts ignorance, and with her right two hands she reassures and blesses that severed soul.
Kālī’s abhaya mudra is therefore consciousness’s “self-introversion”—awakening oneself above fear; vara mudra is “the unveiling of withdrawn consciousness”—where liberated consciousness spreads its light into others. With one hand she says, “Fear not, there is no death”—with the other she says, “Now awaken, I am giving you a boon.” These two mudras together express the non-dual form of Kālī-consciousness—where death and life, destruction and grace, silence and sound—all are parts of one eternal dance.
Abhinavagupta says in the Tantrāloka—”abhayaṃ sthitirūpā saṃvit, varaṃ prasārarūpā”—meaning, abhaya mudra is consciousness’s stable nature, while vara mudra is consciousness’s expansive form (Tantrāloka, 5.48). Thus Kālī, bearing these two mudras, declares—consciousness has no fear, consciousness has no enemy; she herself cuts her own shadow, then transforms that same shadow with light.
Kālī’s varābhaya mudra is the symbol of that supreme moment where consciousness is completely awakened within itself—fearless, open, loving, and all-pervading. Here death is liberation, darkness is light, destruction is another form of creation. Hence Kālī is called “abhaya-varapradāyinī”—she who removes fear and grants boons.
Varābhaya is not merely a mudra, it is consciousness’s own completeness—where the soul establishes itself in its fearlessness (abhaya), and illuminates the world with its compassion (vara). Kālī is the unified embodiment of both—she is the ideal of fearlessness, and also the source of compassion; the goddess of destruction, and also the goddess of liberation. Her varābhaya mudra seems to declare daily before our consciousness—”Fear not, because you are consciousness; and this world is the reflection of your own compassion.”
Her waist ornament (mekhala—’waist-band’, ‘hip-ornament’ or ‘moon-necklace’) is made of dead human arms; this symbolizes self-control by cutting the bonds of karma. From the perspective of Advaita Vedanta, this self-control is “chittashuddhi” (purification of mind), which is the prerequisite for attaining Brahma-knowledge.
The cremation ground, Kālī’s beloved place, is central to her symbolic meaning. It is the realm of death and destruction, but in Tantra it is the field of awakening. As Kashmir Shaiva philosophy says, “yatra saṃhāra, tatra udbhava”—where there is dissolution, there is the rebirth of consciousness. Death is no end, but the re-emergence of supreme consciousness. This is why Kālī dances in the cremation ground—erasing the boundary between death and life, she shows that dissolution is creation. In Heidegger’s terms, this is that Sein-zum-Tode—”being-toward-death”—where humans recognize their true being by embracing death.