Sadhak Bamakhyapa Serial Cast

Sadhak Bamakhyapa Serial Casting
Sadhak Bamakhyapa Serial Cast Star Jalsha
Sadhak Bamakhyapa Serial Cast

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Tara
Member of The Ten Mahavidyas
Tara in a form of Ugra-Tara (Violent Tara).
Devanagari	तारा
Sanskrit transliteration	Tārā
Affiliation	Parvati, Mahavidyas, Devi, Shivasakthi
Abode	Cremation grounds
Planet	Jupiter
Weapon	Khadga, flaying knife
Consort	Tarakeshwarnath ( Shiva)

11.5 Bamakhepa 'My Father (Shiva) is naked; my Mother (Tara) is also naked. So, I am practicing that. Moreover, I don't live in society. I live in the cremation ground with my Mother. I saw their meeting in a serial dedicated to Bamakhepa. – Surya Kanta Bose Chowdhury Mar 7 '19 at 13:57 @SuryaKantaBoseChowdhury these are soap opera. I need authentic source:) – user17294 Mar 7 '19 at 13:58. Sanjher Baati is a light serial which revolves around the lead role, Charu. She had lost her mother when she was young. Post that, and her father married another woman. Now Charu is compelled to live with her stepmother and stepsister.

Bamakhepa Serial Cast

In Hinduism, the goddessTara (Sanskrit: तारा, tārā) is the second of the Dasa (ten) Mahavidyas or 'Great Wisdom goddesses', and is a form of Shakti, the tantric manifestations of the goddess. The word 'Tara' is derived from the Sanskrit root 'tṛ', meaning to cross.^[1] In many other contemporary Indian languages, the word 'tara' also means star.

Origin[edit]

Bamakhepa Serial Song

A version speaks of Tara's demon-slaying form; a demon called Hayagriva wrought havoc everywhere, banishing the devas from Amaravati and robbing them of their possessions. The devas approached Brahma, who in turn lead them to Kali. Kali created another goddess, Tara, from her third eye and sent her to defeat Hayagriva. In the ensuing battle, Tara slew Hayagriva.

A version from the Kalika Purana associates Tara with Matangi. According to this version, when the devas were defeated by the demons Sumbha and Nisumbha, they sought refuge in the Himalayas and began to propitiate Devi. At that time, Shiva's wife (in her dark-skinned form, Matangi) saw the devas and asked whom they were propitiating. Before the devas could answer, the fair-complexioned Mahasaraswati emerged from Matangi's body and replied that the devas were propitiating her. Since Mahasaraswati manifested from Matangi's body, the fair-complexioned, eight-armed goddess came to be known as Kaushiki (meaning 'sheath'). In turn, Matangi's dark complexion caused her to be known as Kali and Ugratara.

In another (less popular) version, the Earth’s landmass was created from fragments of Madhu and Kaitabh's bodies. This did not cause the birth of life because there was nothing other than water and landmass on Earth. Hence, creation was still incomplete. After water and Earth, the Sun was required to provide life force. To create the same, Mahashakti had taken the form of Tara and Mahadev had taken the form of Lord dakhineshar. He and Goddess Tara were the reasons they had brought the sun into existence. Without the eternal sun, the Earth was just a mere orb covered in ice on which life could not have survived. That is why Devi Tara had appeared from whom the sun had to arise and supply light and energy to Earth. Tara has the capability to produce light, energy and heat. When the power met with the power of Akshobhya, their combined power became the source of the sun. When the combined powers of Lord Akshobhya and Devi Tara got integrated in the sea, many pulsating energy orbs were created, in which it led to the expansion of energy. Goddess Tara created a tremendous air flow from her breath which hit the energy bodies and led to their union.

Then the increasing source of energy inside the water started assuming the appearance of the eternal sun. Thus, the eternal sun appeared by the combined powers of Goddess Tara and Lord Akshobhya. Surya thanks Akshobhya and Taradevi for giving birth to him. Tara tells him that he has been born to give his life-giving sun rays to the world and give life to all beings. She requests Lord Surya to stay at his place and provide heat, light and life sustaining energy to the Earth. He will lead to the creation of day and night and will lead to the circle of seasons on Earth. She advises him to leave and carry out his duties of giving life to everyone. Lord Surya assured both that he will fulfill his purpose as given by them both to keep balance in the universe according to the laws of nature and not go against any law as he knows from the knowledge that they both have implanted inside him, which may put the universe in a catastrophe.

Next, Tara had assumed the form of Goddess Shodashi to provide all forms of greenery and plants to the world. Devi Shodashi then placed a bamboo inside the earth and poured one drop of water from her waterpot, this gave birth to all plant life and then all forests, trees, plants and nature grew.

Sadhak Bamakhyapa Serial Casting

Iconography[edit]

Kali and Tara are similar in appearance. They both are described as standing upon a supine Shiva in an inert or corpse-like form. However, while Kali is described as black, Tara is described as blue. Both wear minimal clothing, however Tara wears a tiger-skin skirt, while Kali wears only a girdle of severed human arms. Both wear a garland of severed human heads. Both have a lolling tongue, and blood oozes from their mouths. Their appearances are so strikingly similar that it is easy to mistake one for the other. Tara is shown standing in Pratyalidha posture (in which the left foot is forward). Her Bhairava (consort) is Akshobhya, a Bodhisattva who is in the form of a cobra coiled around Tara's matted hair. She wears a crown made of skulls of five meditating Buddhas. Tara has eight forms called Ashta Tara and the names are Ekajata, Ugratara, Mahogra, Kameshwari, Chamunda, Neela Saraswati, Vajra, and Bhadrakali. Tara is said to be more approachable to the devotee (Bhakta) or Tantrika because of her maternal instincts.

Like Kali, furthermore, Tara in her Hindu context enjoys demons blood. In her hymn of a hundred names from the Mundamala-tantra, she is called 'She Who Likes Blood', 'She Who Is Smeared with Blood' and 'She Who Enjoys Blood Sacrifice'.

Tara can be distinguished visually from Kali primarily via her implements. Four armed, she carries a sacrificial sword, a severed head or skull cup, a blue lotus and a flaying knife. Kali never holds a lotus or a flaying knife.

Tarapith temple[edit]

The murti at the Tara Ma mandir in the village of Tarapith, a highly important Tantric site for Bengali Shaktas (and highly contested as to whether or not it is truly a Shakti Pitha; scholarly evidence points towards yes), is mostly covered by Garlands of flowers. Some people believe that eyeball of Sati fell here thus this pith is called tara pith because Bengali people named eyeball as chokher moni and another name of moni is chokher tara. There are two Tara images in the sanctum. The stone image of Tara depicted as a mother suckling Shiva – the 'primordial image' (seen in the inset of the fierce form of the image of Tara) is camouflaged by a three feet metal image, that the devotee normally sees. It represents Tara in her fiery form with four arms, wearing a garland of skulls and a protruding tongue. Crowned with a silver crown and with flowing hair, the outer image wrapped in a sari and decked in marigold garlands with a silver umbrella over its head. The forehead of the metal image is adorned with red sindoor (vermilion). Most devotees will not have a chance to see the actual stone image, as there are only 15 or so minutes of Darshan or viewing of the stone at 4:30 am when the temple opens and only the first lucky few will be admitted into the inner shrine (the Garbhagriha) to see the stone.

Goddess Tara, Bihar c. 9th century.

Unlike most Indian villages and towns, the smashan or cremation ground is not situated on the periphery of the village. As cremation grounds are seen to be polluting, most Indian smashans are located far from the center of town. Both the Tarapith mandir and smashan are very close (within 100 yards or so) to the center of the town and near Dwarka River. It is said that Tara Ma's footprints are preserved in the smashan; this is a common theme in Hinduism, where deities or their especially holy followers are said to leave their footprints in rocks. Many Sadhus and Tantrikas live in the smashan, some with permanent huts as residences. The smashan is filled with dogs, traditionally polluting animals who were said to share food with the Vamamarga saint Bamakhepa, whose samādhi or tomb is located next door to the main Tarapith temple.

Tara in Buddhism[edit]

Tara (Sanskrit: तारा) in Buddhism, is a female Bodhisattva in Mahayana Buddhism who appears as a female Buddha in Vajrayana Buddhism. She is known as the 'mother of liberation', and represents the virtues of success in work and achievements.

Some researchers believe Paranasabari is another name for Hindu Goddess Tara.^[2]^[3]

References[edit]

^David Gordon White The Alchemical Body: Siddha Traditions in Medieval India, (Kindle Locations 1613–1615). University of Chicago Press. Kindle Edition. 'This coastal location reminds us of what may have been Tārā’s original role: she was a goddess of navigation, of sea crossings— tārā is generated from the verb tṛ, to cross over the sea.'
^Reflections on the Tantras. S̄udhakar Chattopadhyaya. 1978. p. 76. ISBN9788120806917.
^The social function of art by Radhakamal Mukerjee. Philosophical Library. 1954. p. 151.

External links[edit]

Wikimedia Commons has media related to Tara (mahavidya).

Retrieved from 'https://en.wikipedia.org/w/index.php?title=Tara_(Mahavidya)&oldid=992857570'

About Bamakhepa
Bamakhepa (1837–1911), popularly known as the 'mad saint,' was a Hindu saint, held in great reverence in Tarapith and whose shrine is also located in the vicinity of the Tara temple. He was born in the midnight of Shivaratri (the holy night dedicated to Shiva) in the village named Atla of Birbhum district to a Shyama--sangeet singer Sarvananda Chattopadhyay. He was named Bamacharan (one who is dedicated to the lotus feet of Bama = the devi with the left foot forward on the chest of Shiva, i.e., Goddess Tara). Amongst very few, he holds the title Sadhak-pravar Bamdev. He is a true yogi, and was known to have tremendous supernatural powers. While it is true, that people called him Bamakhepa and `khepa' means mad, devout Shakti-sadhaks doesn't think of him as a mad saint; as is usually the folklore. He is the man `mad of Bama or divinely intoxicated', thus he gets that name. Locals called him Khepa--baba, Bama as well. `Khepa' is a term used in Tantrik traditions to praise a worshipper to the superlative degree, thus he was called that way. He is also referred as Shri Bam, Bamdev in the community of shaktas, and is the Bhairav of Tarapith.
As a child, he worshipped Goddess Tara at his home. He had to take a job of a priest at the temple of Mauliksha Devi in Maluti due to growing poverty at home. But he was disqualified from the job because he could not chant Sanskrit mantras. He was converted to a cook at the same temple (but continued to worship Devi in informal mode during the night after his job was over), where he worked for a year or more before something fascinating was waiting for him in the burning ground of Tarapith. He found at Tarapith, the job of picking flowers and making it ready for puja and got a salary of Rs 2 per month. He ever questioned the priests, whether the statue of Goddess Tara was real, whether she can talk or has someone really seen her. Consequently, he met Pisach-siddha Brajabasi Kailashpati, a prolific tantrik in the Tarapith burial ground. He used to stand far away from the crowd that met Kailashpati everyday, but concentrated on his preachings, where he heard the term 'Kundalini' for the first time. He was hesitant to approach Kailashpati for he was uneducated but finally dived on Kailashpati's feet demanding to help him see Goddess Tara. After several refusals, Kailashpati promised that Bama's dream would come true. On one amavasya midnight, Kailashpati gave Bama the red robe, the trishul, the rudraksha, the sindur took him to what is known in Tarapith as the famous Vashistha--asan. It is a very famous Panchamundi asan, extremely powerful and is lively everytime and is the same seat from which Sage Vashistha performed extreme penance with Tara mantra. Kailashpati made Bama sit on Vashistha--asan and whispered him the Tara mantra and asked him to meditate without distraction, else face the penalty of a 'bhrasta-sadhak'. He overcomed several challenges being distracted by yoginis, spirits and went uninterupped by all these to finally have darshan on the midnight of next Kaushiki Amavasya (the dark night on the month of Bhadra in the Bengali calander).
Subsequently, he mastered Tantra sadhana from his uttar sadhak (another senior disciple of Kailashpati) Kaulacharya Mokshadananda in Bamachar. Among his notable friends in Tarapith was a servitor of the Tara temple named Nagen Panda, whom he called Nagen--Kaka (Uncle--Nagen, even though Bama was much senior to him). He had an assistant named Gadai (usually shortened form of Gadadhar), who brought him food and took care of his hut/ashram. He was a rational person as opposed to being called mad; he fought back for the increase of salaries of temple servitors, and donated all of what his disciples would give him to get the tax of villagers waived and contributed significant portion of what people donated to the freedom struggle, through his disciple named Tarakhepa. He believed in non violence and had asked Tarakhepa (premonastic name Pramatha) and eminent revolutionary poet Mukunda Das to throw their guns. Such facts are never cited.
Amongst his notable disciples are Tarakehpa and Nigamananda Saraswati (premonastic name Nalanikanta Bhattacharyya). It is usually told that ghosts would even be afraid to create a nuisance, when they would see the guru--sishya duo Bamakhepa and Tarakhepa. Realizing that Nalanikanta is on the verge of full fledged monastic life, Bamakhepa taught him tantra sadhana for just 20 days and on the 21st night which happened to an amavasya, he convinced Nalanikanta to sit on a dead in the evening. Scared Nalanikanta initially denied but then agreed to the scolding of Bamakhepa. He was asked to chant the Tara--beej mantra all throughout, without distraction, till his dreams of Devi--darshan is fullfilled. Nalanikanta had hurdles along the way, being challenged by ghosts but Bamakhepa helped him from distance roaring towards the ghosts and asking Nalanikanta not to leave his seat. Leaving the seat is a `fowl' in Tantra sadhana (for what is the reason of scare, if he has the faith that the one whom he/she is meditating is on his/her side). Right before dawn, Nalanikanta saw Devi in the form of his wife, and upon request asked Devi to manifest herself in her own iconographic form. He could not bear the `chandogra' form of Goddess Tara, was shivering and went to trance.
Bamakhepa, goddess Tara's ardent devotee lived near the temple and mediated in the cremation grounds. He was a contemporary of another famous Bengali saint Ramakrishna. At a young age, he left his house and came under the tutelage of a saint named Kailsahpathi Baba, who lived in Tarapith. He perfected yoga and Tantric sadhana (worship), which resulted in his becoming the spiritual head of Tarapith. People came to him seeking blessings or cures for their illness, in distress or just to meet him. He did not follow the set rules of the temple and as result was even once roughed up by the temple priests for taking food meant as offering for the deity. It is said: Tara appeared in the dream of Maharani ('Queen') of Natore and told her to feed the saint first as he was her son. After this incident, Bamakhepa was fed first in the temple before the deity and nobody obstructed him. It is believed that Tara gave a vision to Bamakhepa in the cremation grounds in her ferocious form and then took him to her breast.
Beginning in 2007, a serial about Bamakhepa ran on television in Bengal. By late 2011, it had run for 1500 episodes. Gomolo stated that
Sadhok Bamakhyapa, which has had an uninterrupted run on ETV Bangla since Jan 15, 2007 not only shows the presence of this great figure in our lives, but also celebrates the feat of a serial which has become a part of our daily lives. We have retrieved one of the most important figures in our philosophy from the pages of history.... The serial which features actor cum singer Arindam Ganguly in the lead role has become a rage all over Bengal and is probably the first serial based on a religious figure to reach this mark.The serial is simply becoming more and more popular day by day largely due to the performance of the lead actor and also due to performances of the supporting actors or actresses like Samata Das, Priyanka Bhattacharya, Bodhisatwa Majumdar, Biswanath Basu and others.

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