You and the moon and the stars

Let me liken the moon and the stars
to you and glorify them.
For unlike you, my love, 
they are ephemeral.

When I truly thank God

When I truly thank God,
He says welcome through goosebumps.
When I go deeper still,
He flows through me as tears of joy.

Only when I

Only when I got crushed under it, I moved the mountain.
Only when I burnt myself, I rose like phoenix.
Only when I drowned myself, I became the ocean.
Only when I truly surrendered, I won the battle.

Only when I stopped resisting, I flew.
Only when I stopped doing, life started happening.
Only when I observed, I saw the unseen.
Only when I became nothing, I became everything.

Only when I pulled out, existence took over.
Only when I let go, I let God.  

Evolution of Love

I love you because ...
I love you.
I love myself.
I love all.
I love.
I
.

प्यार से एकाकार तक

प्यार तब है जब सारी श्रृष्टि में वोही दिखे
भक्ति तब है जब सारी श्रृष्टि उसी में दिखे
आध्यात्म तब है जब सारी श्रृष्टि खुदमें दिखे
एकाकार तब है जब हम ही श्रृष्टि हैं ये दिखे

Pyaar tab hai jab sari shrishti mein wohi dikhe
Bhakti tab hai jab sari shrishti usi mein dikhe
Adhyatma tab hai jab sari shrishti khudmein dikhe
Ekakar tab hai jab hum hi shrishti hain ye dikhe.

Geet ko uthne do

A beautiful poem "geet ko uthne do" on 'Khumari' recited by Osho: 
http://www.youtube.com/watch?v=HjRvf_c55yY 

geet ko uthne do 
aur saaz ko chid jaane do 

chuppi ko chune do lafzon ke narm taaron ko
aur lafzon ko chuppi ki ghazal gaane do

khol do khidkiyan sab aur uthado sab parde
nayi hawa ko zara band kamre mein aane do 

chat se hai jhank rahi kabse chandni ki pari
usko aangan mein utar aane do 

fiza mein chaane lagi hai bahaar ki rangat 
juhi ko khilne do champa ko mehek jaane do 

geet ko uthne do 
aur saaz ko chid jaane do

zara sambhalne do meera ki behekti paayal
zara gautam (Buddh) ke sadhe paaon behek jaane do 

geet ko uthne do 
aur saaz ko chid jaane do

haste hothon ko zara chakhne do ashkon ki nami 
aur num aankhon ko zara phirse muskurane do 

dil ki baaton ko zara jharne do har singharon se 
bina baaton ke kabhi aankh ko bhar aane do

raat ko kehne do kaliyon se raaz ki baatein
gulon ke hothon se un raazon ko khul jaane do 

zara zameen ko ab uthne do apne paaon par 
zara aakash ki baahon ko bhi ab jhuk jaane do 

geet ko uthne do 
aur saaz ko chid jaane do

zara sambhalne do meera ki behekti paayal
zara gautam ke sadhe paaon behek jaane do 

kabhi mandir se bhi uthne do azaan ki aawaaz 
kabhi mazjid ki ghantiyon ko bhi baj jaane do 

pinjare ke toton ko dauharane do jhoothi baatein
apni maina ko to par khol chahchahaane do 

unko karnedo murda rasmon ki barbadi ka gum 
hamein nayi zameen naya aasmaan banane do 

ek din unko utha lenge sar aankhon par
aaj zara khudke paaon to sambhal jaane do 

geet ko uthne do 
aur saaz ko chid jaane do

zara sambhalne do meera ki behekti paayal
zara gautam ke sadhe paaon behek jaane do 

zara saagar ko baras jaane do banke baadal
aur baadal ki nadi saagar mein kho jaane do 

zara chanda ki narm dhoop mein sekne do badan
zara suraj ki chandni mein bheeg jaane do 

usko khone do joki paas kabhi tha hi nahin
jisko khoya hi nahin usko firse paane do 

geet ko uthne do 
aur saaz ko chid jaane do

zara sambhalne do meera ki behekti paayal
zara gautam ke sadhe paaon behek jaane do 

are haan haan hue hum logon ke liye deewane
ab logon ko bhi zara hosh mein aane do 

ye hai sach ki bahot kadvi hai mai is saaki ki
rang layegi gar saanson mein utar jaane do 

chalkenge jaam jab chayegi khumari ghata 
zara maikhano ke paimano ko to sambhal jaane do 
zara saaki ke tevar to badal jaane do 

geet ko uthne do 
aur saaz ko chid jaane do

zara sambhalne do meera ki behekti paayal
zara gautam ke sadhe paaon behek jaane do 

na rahe maikhana, na maikhwaar, na saaki, na sharab
nashe ko aisi bhi ek had se guzar jaanedo 

usko gaanedo uske geet mere hothon se 
aur mujhe uske sannate ko gungunane do 

zara sambhalne do meera ki behekti paayal
zara gautam ke sadhe paaon behek jaane do 

geet ko uthne do 
aur saaz ko chid jaane do

============ 
wo ghadi jab meera hosh mein aa jaati hai
aur buddh hosh kho baithte hain uska naam hai khumari

An ode to Sachin

Even if this story may be lost as one more in countless eulogies being written for the retiring maestro Sachin Tendulkar, the story must be told simply because I feel so strongly about it.

To be completely honest, I’ve stopped watching cricket for a while now. I can’t sit and watch a single over, I don’t know the names of the latest cricketers, can’t care about the records and don’t even know who is playing who. This transition has been a complete u-turn from being an ardent cricket fan who used to live, breathe, walk and talk cricket, from being the college cricket captain who wouldn’t sleep the night before every match because he just couldn’t stop practicing the shots in his mind, who had cricket statistics by heart and who recklessly played with his career by focusing on World Cup cricket because it happened during his exams.

A day before Sachin’s final test at Wankhede, when a friend proudly mentioned on Facebook that he got the tickets for the match, I asked him, “What match?” Even then I didn’t seem to care; I’ve watched him enough, I thought. And then on the morning of 15^th November 2013, I saw too many updates on Facebook about the match and it looked like Sachin was batting. So I switched the TV on. Sachin was already on 46 then. And the crowd was roaring on every ball he faced.

I sat. I watched. I forgot myself for a while. The boundaries came intermingled with the defensive shots: sweep, paddle sweep, ducking a bouncer and yet trying to hit a boundary by swishing the bat under the flying ball, trademark back-foot cover drive, straight drive under the fingers of the bowler, on-drive, leg glance, flick and many more. Clichéd it may sound but he was truly on song and it was sheer poetry on the field. When he got out on 74, the applause from the crowd gave me goose-bumps but what surprised me the most were the water drops swelling on the sides of my eyes. That was perhaps the cricketer in me who was going to miss poetry in action.

I wondered what might be going on in his heart and mind. Here is the man who has cradled India’s cricketing hopes for 24 long years on his strong shoulders and a diminutive five and a half feet frame. I’ve seen people believing in all sorts of superstitions when he is batting: never watch him play live but sit in the next room praying, sit in a particular chair, wear a particular underwear, don’t drink water while he plays and all sorts of crazy stuff. But what aplomb, what confidence, what elegance, what modesty, what spotless character and what endearing learning attitude define his persona? No wonder Brian Lara said he wants his son to be Sachin Tendulkar. Let me tell you a secret Mr. Lara. We all want the same. But the Sachin we want is not necessarily a cricketer or a batsman. We want the Sachins to come out in all the sports and professions of the world and raise the bar through single minded devotion, love for their craft, complete dedication and honesty. We all want the Sachin who is the quintessential ideal son, brother, husband and father. We want the Sachins to give the world the much needed joy when they’re in their craft, make people feel that they’ve come to the earth to watch what these virtuosos create.  

There are many Sachins in their respective sports: Federer, Nadal, Messi and others and there will be many more to come. Dhoni may be a better finisher, Kohlis and Sharmas show a lot of promise, but for me, like many others, Sachin defined cricket for more than two decades. The TV is off now. Not sure when I will watch cricket again. It doesn't matter now. 

कोई तो बात होगी

कोई तो बात होगी ज़िन्दगी में
कि दिल को छू जाती है
कोई तो बात होगी मौत में
कि पल में ज़िन्दगी दिखा जाती है

कोई तो बात होगी रात में
कि सपने दिखा जाती है
कोई तो बात होगी दिन में
कि सपने साकार कर जाता है

कोई तो बात होगी प्यार में
कि रुला के चला जाता है
कोई तो बात होगी इंसान में
कि जीना सिखा जाता है

कोई तो बात होगी मुश्किलों में
कि हौसला दे जाती हैं
कोई तो बात होगी खुशियों में
कि आंसू छोड़ जाती हैं

कोई तो बात होगी हर पल में
कि उनकी यादें रह जाती हैं
कोई तो बात होगी रूह में
कि होकर भी ना होना दिखा जाती है 

Life happens

A poet writes life,
a painter paints life,
a musician composes life,
a sculptor sculpts life.

A teacher teaches life,
a preacher preaches life,
a biker rides life,
a sportsman plays life.

Parents nurture life.
Joy celebrates life.
Sorrow resents life.
Breath breathes life.

Life begets life.

At some point

At some point,
everything appears separate;
that point is mind.

At some point,
everything appears connected;
that point is heart.

At some point,
all the hearts connect;
that point is spirit.

At some point,
all the spirits merge;
that point is silence.

A part of us

A part of us is beyond time; 
        it shows us the future sometimes.
A part of us is beyond space; 
        it takes us through our dreams. 
A part of us is enlightened; 
        it guides us through our intuition. 
A part of us is the whole; 
        it whispers to us in silence.

एक कविता आज होनेको है

एक कविता आज होनेको थी
फिर वो कहीं अटक गई
पता नहीं कैसे थी आई
और कैसे यूहीं थम गई

शायद किसी फूल की खुशबू में खो गई
या फिर हवा के झोके में उड़ गई
शायद किसी बच्चे की हसी में घुल गई
या फिर बारिश की बूँद में भीग गई

शायद किसी जौहरी ने उसे तराश लिया
या कोई सुंदरी ने उसे हार समझ पहन लिया
शायद किसी संगीत के सुरों ने उसे पिरो लिया
या कोई चित्रकार ने उसे रंगों में डुबो दिया

मैंने ढूँढा उसे किरणों की धुप में
फिर टटोला उसे रात की चांदनी में
मैंने छाना उसे पेड़ की छाओं में
और खोजा उसे पंछियों के गान में

शायद छुपी थी वो अमीरी के महल में
या सिसकियाँ ले रही थी गरीबी की आह में
शायद झूमती थी वो सच्चाई के नाच में
या मरती थी वो फरेब की धीमी आंच में

मैं ढूंढता रहा उसे
जो हमेशा मुझे समेटे थी
मैं खोजता रहा उसे
जो मैंने कभी खोया ही नहीं

मेरी सोच की हर संधी में थी
और सांस की हर लय में है
एक कविता आज होनेको थी
एक कविता आज होनेको है 

खुदा से गुफ्तगू

अब शहर की चकाचौन्द रास नहीं आती
की आसमान में उसने तारे बिछाए हैं

अब उसके नाम की माला हाथों से नहीं होती
की साँसों की माला में सिमरूं मैं उसका नाम

अब इंसान की जुबां समझ नहीं आती
की हम तो खुदा से गुफ्तगू करते हैं 

Kidnapped?! In Dubai?!

My short play called 'Kidnapped?! In Dubai?!' that I wrote and directed for Short+Sweet Feb 2013. 
The play came second by People's choice and third by Judges choice in that evening of the performance that had 10 total plays.
Actors: Abhishek Mishra (Taxi driver), Elizabeth Hadaway Kapur (Passenger), Jessica Avedikian (Call center agent)
Duration : less than 9 mins 40 secs. 

https://www.youtube.com/watch?feature=player_embedded&v=U7XWCWMxu_4

नानी और नाती

एक नानी अपने नाती को चलना सिखा रही थी
बुढ़ापा बचपन को दिशा दे रहा था
ज्ञानी अज्ञानी का मार्गदर्शन कर रहा था
सूर्यास्त सूर्योदय को प्रकाश की परिभाषा सिखा रहा था

मैं

मदारी भी मैं हूँ

झमूरा भी मैं

डमरु भी मैं हूँ

खेला भी मैं

दर्शक भी मैं हूँ

प्रदर्शक भी मैं

तुम भी मैं हूँ

मैं भी मैं

अमर भी मैं हूँ

मरता भी मैं

खुदा भी मैं हूँ

शैतान भी मैं

ज़मीं भी मैं हूँ

आसमां भी मैं

हवा भी मैं हूँ

अंतरिक्ष भी मैं

कहता भी मैं हूँ

सुनता भी मैं

देखता भी मैं हूँ

दृश्य भी मैं

जो मैं हूँ

वो भी मैं हूँ

जो मैं नहीं

वो भी मैं

चंद बातें हिंदी में

कोशिश तो की थी मैंने
पर कमबख्त दिल ने साथ ना दिया
जब खुदको ना दे पाया तो
मैंने तुझी को धोका दे दिया

**************
आँखें तो जुबां की सौतन होती हैं
की जुबां के हर राज़ सरेआम बयाँ करती हैं

**************
एक चाँद है जो उनसे रौशनी उधार लेता है
और एक वो हैं की चाँद को खूबसूरत कहते हैं

**************
हर पल में जीना तो हमने सीखा नहीं
पर पलों को नापती घड़ियाँ हम खूब बनाते हैं

**************

सूरज की लालीमा

या आसमान के तारे मुझसे नाराज़ हैं
या मैं शहरों की चकाचौन्द में कहीं खोया हूँ

या चाँद की चांदनी आज कुछ सहमी सी है
या पूनम की रात मैं आँखें मीचे सोया हूँ

या ढलते सूरज की लालीमा आज तेज़ है
या मैं खून के आंसू रोया हूँ 

हर दिल में कमी क्यों है

चाँद तो है आसमां में
मगर चांदनी नहीं,
सूरज तो है गगन में
पर रौशनी नहीं,
फूल तो है बाग़ में
पर खुशबू नहीं,
हवा तो है हर तरफ
पर सांस नहीं,
दरिया भी है करीब में
पर प्यास नहीं,
बारिश तो हो रही है
पर हम भीगे नहीं,
प्यार तो है आस पास
पर उसका एहसास नहीं,
जी तो रहे हैं हम
पर ज़िन्दगी नहीं।

कुछ तो बात है
जो हम समझ पाए नहीं,
पास होने पर भी
हम खुदको पाए नहीं।

हर तरफ ये बोझ क्यों है?
हर हाथ में ज़ंजीर क्यों है?
हर आँख में नमी क्यों है?
हर दिल में कमी क्यों है?

Recreating Existence

A painter, a poet and a dancer

went to a Himalayan resort

for a friendly get together

and to find their creative burst.

Nature, being joyful and kind,

showed them such wonderful hues.

It mesmerized them all and

gave them their creative cues.

The idle brush beckoned the painter.

He spread the red, blue and crimson,

and drew on the canvass a stunning picture  

with cloud silhouettes and setting sun.

The poet let the words flow freely

in his oneness and exuberance.

Adjectives galore, praises aplenty,

described the unlimited existence.  

The dancer felt the music of the space

and began a wonderful dance,  

expressed his bliss through the grace

to consummate his hilly romance.

They gathered again and admired

the wonderment of their creativity,

but looked at the sky and wondered

how nature beats their created beauty.

They figured that human creation

is limited even in its awesomeness,

that no expression is a true reflection

of existence so eternal and limitless.

The friends then joined their hands.

In unison, they closed their eyes

and savoured the expansive vista,

and let existence fill in their pores.

In a moment

In a moment,
there is no sound,
neither there is light or taste,
nor is there touch or smell.

In a moment,
there is no thought, perception or judgment,
neither there is memory, fear or movement,
nor is there love, label or prejudice.
In a moment, everything just is.

In a moment
everything is stationary,
for streams don't flow,
trumpets don't blow,
leaves don't rustle,
crowds don't jostle,
birds are suspended in the blue drape,
and clouds are fixed in the landscape.

In a moment,
a yelling man is stuck with an open mouth,
a kisser on the bed is unmoved with a pout,
a dancer on a stage is awkwardly posed,
a cyclist on a road is magically disposed,
a gymnast on a rope is beautifully balanced,
a climber on a cliff is precariously placed.

In a moment,
we neither breathe in,
nor out,
we are all dead
and yet alive.
In a moment,
life is just a snapshot.

A perception is a collection
of moments.
Life as we live can't exist
without a trail of moments.

In a moment,
there is nothing
but in that void,
it bears everything.

Intelligence and Wisdom

Intelligence makes atom bombs.
Wisdom says, “you better not use it.”

Intelligence says, “I can win.”
Wisdom says, “It doesn't matter.”

Intelligence answers. Wisdom questions.
Intelligence competes. Wisdom holds hands.

Intelligence yearns to take credit.
Wisdom hankers to share it.

Intelligence needs to prove a point.
Wisdom has nothing to prove.

Sheer intelligence rankles. Wisdom soothes.
Intelligence dissects. Wisdom synthesizes.

Intelligence speaks out.
Wisdom is silent until spoken to.

Intelligence mocks at the foolish.
Wisdom respects the unwise.

Intelligence is a roaring stream.
Wisdom is a calm lake.

Intelligence without wisdom is wild fire.
Intelligence with wisdom is a trained horse. 

What would I be?

What would I see if all the eyes were mine?

What would I hear if I heard through all the ears?

What language would I speak if I spoke through all the tongues?

What would I hold if all the hands were mine?

What would I feel if all the hearts were mine?

What would I do if I was in all the minds?

What would I be if I was in all?

What would I experience if all was in me?

How would I react if it dawns that it’s true,

that I am all and all is me?

But wouldn’t the all-knowing me know already

that I was to discover the real me?  

======== 

This poem was inspired by the first verse of Purusha Sukta, which is a part of Rigveda. Purusha Sukta belongs to the section dedicated to the Purusha, the "Cosmic Being".

दरवाज़े - Doors

एक दरवाज़ा था 

जो मुझे पुकार रहा था 

मेरे करीब जाते ही वो खुल गया 

पर ये क्या ? 

भीतर एक और दरवाज़ा था 

उसके खुलते ही एक और, फिर एक और 

दरवाज़े खुलते रहे 

मैं भीतर जाता रहा 

घंटे, दिन, हफ्ते, साल बीत गए 

दरवाज़े खुलते रहे 

मैं भीतर जाता रहा 

समय की मर्यादा टूट गयी 

स्थान का आभास छूट गया 

खुद के होनेका एहसास भी मिट गया 

दरवाज़े खुलते रहे 

मैं भीतर जाता रहा 

फिर एक दरवाज़ा खुलते ही 

आगे कोई दरवाज़ा न था 

एक स्पंद था और ख़ामोशी थी 

मैं था और मैं जीवंत था 

आनंद था और प्रेम भी था 

मैंने पूछा 'तुम कौन हो ?' 

ख़ामोशी बोली, 'मैं तुम ही तो हूँ '

मैंने पीछे मुडके देखा तो 

खुदको अनगिनत दरवाज़ों के पीछे 

कौतुहल से देखते पाया 

What influences our perception - 36 elements of Kashmir Shaivism

In my quest for knowing the deeper secrets of existence, I was brought in contact with 36 elements of Kashmir Shaivism that form the basis of our existence. My chief sources of this understanding are Guruji Prem Nirmal’s commentary on the 36 elements and the book ‘Specific Principles of Kashmir Shaivism’ by B. N. Pandit.

While the below summary is intellectually acquired and not organically experienced, I have to admit that this understanding itself has strengthened my depth of meditation as I’m hit frequently by waves of meditative awareness.

I write this piece with a sincere hope that some seekers out there will find this beautiful revelation equally powerful and uplifting.

These 36 elements are the fundamental building blocks of creation with the subtlest being the first and the grossest being the last. I will take the top down approach to follow the path of creation of the universe, which is the outward manifestation of the divine creative energy. This outward manifestation happens in five stages: 1. Creation 2. Preservation and 3. Dissolution of these 36 elements and all beings therein along with the activities of 4. Self-Oblivion and 5. Self Re-cognition

Philosophers of Kashmir Shaivism assert that the subtlest of self is pure consciousness which is in the form of a stirring called ‘Spanda’. It is neither physical vibration like sound or light, nor mental movement like desire, anger, or passion. Rather, it is a spiritual stirring of consciousness whose essential nature is a simultaneous inward and outward vibration. The inward and outward movements of Spanda shine as subjective and objective awareness of I-ness (Shiva) and this-ness (Shakti) respectively, which form the first two elements (tatvas) of Kashmir Shaivism.

1.   Shiva: The changeless, absolute and pure consciousness having inward vibration is Shiva Tatva, which is considered by many as the male vibration.

2.   Shakti: The natural tendency of Shiva towards outward manifestation is Shakti Tatva, which is also considered as the female vibration.

It is important to understand that the Shiva and Shakti are just linguistic distinction but are actually one with the pure consciousness called ‘Paramasiva’ and are not actually a part of the creation. It is also important to note that all the phenomena have an eternal existence within this pure consciousness which is also referred to as Absolute, completely free and divinely potent. All the phenomena lie within this Absolute as its potency, just like a plant lies as a potency within a seed.

3.   Sadashiva (I am This): While the absolute is limitless subjective I-Consciousness, it playfully manifests phenomena as ‘I am this’ or objectivity.   The objective manifestation of the phenomena of this-ness is called creation. In the beginning, these phenomena appear as single, undiversified, faint chunk of this-ness within the unlimited and luminescent I-ness. The vision or understanding of beings in Sadashiva tatva is ‘Unity in Diversity’.

4.   Isvara (This is myself): In the next step of creation, the balance of I-ness and this-ness shifts towards the latter. The awareness now shines as ‘This is myself.’ The vision or understanding of beings in Isvara tatva is ‘Diversity in Unity’.

5.   Shuddha vidya (Pure Knowledge)(‘I am I’ & ‘This is This’): When the vision becomes balanced so that there is equal emphasis on I-ness and this-ness, the Shuddha Vidya element comes into being.  This element is pure, unlimited knowledge which is required for the creation of the cosmos. Shuddha Vidya element is also called Mahamaya, the last of the pure elements.

The first five elements are called pure elements because they retain their awareness of the purity, infiniteness and divine potency of their I-consciousness. The next element is called Impure element because starting here, the actual layer of limitation is introduced.

6.      Maya (illusion): This is the first impure element which has two main effects. First, it hides the pure and divine nature of created beings who forget their purity, infiniteness and divine potency of their I-consciousness.  Second, they see every other entity as absolutely different from their finite I-consciousness. All other phenomena are also imagined to be mutually different as well. Maya is thus the plane of absolute self-oblivion and diversity. Maya causes beings to lose their oneness with divine potency and leaves them with feelings of imperfection and emptiness which they attempt to fill up with outer objects. To enable us to fulfill these desires, Maya allows us just enough powers of creative action (Kala), knowledge (Vidya), interest (Raga), cause & effect (Niyati), and time (kaal).  

These five elements are called the kanchukas or ‘cloaks’.

7.     Kala (Limited Creativity and action):  To enable us to fulfill our desires, Maya allows us just a little power of action to achieve limited results. This limited creative potential is called Kala.

8.    Vidya (Limited Knowledge): Since doing is not possible without knowing, maya also gives us limited knowledge called Vidya. This is a very limited and hence impure knowledge within Maya and must not be confused with the fifth element which is pure, unlimited knowledge.

9.   Raga (Limited interest): To further limit our potential, Maya appears within us as Raga or limited interest as the ninth element. Because of this limited interest, we’re not inclined to pursue the full potential of our creative abilities or to reach our full potential. Raga also limits our potential to do and to know by limiting our focus only on things that interest us.

This raga should not be confused with attachment which is an attribute of the intellect (buddhi).

10.  Niyati (cause and effect): This tenth element enforces the law of nature upon its beings. It establishes the order of succession in all the phenomena. E.g. how a seed develops into a tree. This law restricts everything within the framework of cause and effect.

11.  Kaal (Time): This element restricts our very being within the maze of time. It limits our being from being present everywhere at all the time to being only somewhere at some time. While our true self is Timeless (Akala), this element makes us feel that “we were, we are, and we will be.” And with limitation of time, comes the limitation of space as they are the opposite side of the same coin. If you can’t be everywhere at all time and you can be only somewhere at some time, then it takes some time to go from one place to another. Hence the illusion of space and time.

12. Purusha (Finite I-consciousness): The I-consciousness, reduced to finitude, is the twelfth element called Purusha.

13. Prakriti (Object of I-consciousness): The object of Purusha element is the thirteenth element called Prakriti. It is also called the MulaPrakriti (the basic substance). Through Prakriti, Shiva starts further phase of creation. This element is the highest element within the Samkhya philosophy and the undiversified source of the remaining 23 objective elements.

For the remaining 23 elements, we will start with the first and the grossest of elements for simplified understanding.

a.      Pancha-bhutas: The gross phenomena is divided into five elements known as the five bhutas called  

1.      prithvi (earth),

2.      jal (water),

3.      agni (fire),

4.      vayu (air),

5.      aakash (ether or space)

b.     Tanmatras: Five bhutas evolve from the next level of subtle elements called Tanmatras. These include

6.      Odour

7.      Flavour

8.      Light-colour

9.      Touch

10.   Sound

As is obvious, these subtle elements are the basic objects of the five exterior senses which are the subsequent elements

c.       Gnanendri – Senses

11.  Smell

12.  Taste

13.  Sight

14.  Touch

15.  Hearing

d.      Karmendri – instruments of action

16.  Reproduction

17.  Elimination

18.  Locomotion

19.  Handling

20.  Expression (speech)   

The next three elements are collectively called the Antahkaranas – mind, ego and intellect.

21.  Buddhi (Intellect):

22.  Ahankar (Ego):

23.  Manas (Mind):  

Source:
1. http://premnirmal.blogspot.ae/2010/09/36-elements-of-kashmir-shaivism.html and 

2. Book: Specific Principles of Kashmir Shaivism by B. N. Pandit.