The iconic representational image of Shaiva philosopher Abhinavagupta (10th century). If you Google search now, this is the origin of most Abhinavagupta images that now flood the internet. This image first appeared in the book ‘Guru Nath Paramarsha of Madhuraj – Ed. P.N. Pushp’ (1960). Artist: Unknown.
The image is based on pen-portrait of Abhinavagupta by his Tamil student Madhuraj:
“Out of his deep compassion, [Śiva] has taken a new bodily form as Abhinava Gupta and come to Kashmīr. He sits in the middle of a garden of grapes, inside a pavilion [adorned with] crystal and filled with beautiful paintings. The room smells wonderful because of flower garlands, incense sticks, and oil lamps. It is constantly resounding with musical instruments, with songs, and with dancing. There are crowds of yogīs and yoginīs, realized beings, and siddhas. . . . In the center of the room there is a golden seat from which pearls are hanging. It has a soft awning stretched over it as a canopy. Here sits Abhinava Gupta attended by all his numerous students, with Kṣemarāja at their head, who are writing down everything he says. . . . Abhinava Gupta’s eyes are trembling in ecstasy. In the middle of his forehead is a conspicuous tilaka made of sacred ashes. He has a rudrākṣa bead hanging from his ear. His long hair is held by a garland of flowers. He has a long beard and reddish-brown skin. His neck is dark and glistening with musk and sandalwood paste. Two dūtīs stand at his side holding refreshments [wine etc.]. . . . He wears a silken cloth as a dhoti, white as moonbeams, and he sits in the yogic posture known as vīrāsana. One hand is held on his knee holding a japa-mālā and his fingers make the mudrā that signifies his knowledge of the highest Śiva. He plays on a resonating lute (ektār) with the tips of his quivering fingers of his lotus-like left hand.”
[From Paul Muller-Ortega’s translation of Guru Nath Paramarsha of Madhuraj,
via:
tantrikstudies.org]
“1000 years ago today, Abhinava Gupta sent pen to paper for the last time, completing his last great work, a multivolume commentary on the most profound and erudite philosophical text in Indian history (the Stanzas on the Recognition of the Divine [ Isvara Pratyabhijna Karika of Utpaladeva (c 900-950)]). We know the date because he wrote it at the end of his manuscript: the end of the month of Mārgaśīrṣa, in the year 4090 of the Saptarṣi calendar (corresponding to 1015 CE).”
