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Shamashan Tara, a form of Kali? in WEST BENGAL

Dwelling into the tantric occults of India  here is something of interest:

The puja is performed by Guruji  and Aghori At midnight on the dark night of the moon an aghori sits alone in the great cremation ground (smashan) of Tara pith ­ the 'sacred site of Tara' ­ in Bengal, India. He is naked or 'sky-clad', fearless and unashamed, and gazes in wonder at the resplendent form of his beloved Goddess,Kali Samashan Tara. His matted hair is piled up into a topknot ­ symbolizing that he upholds his tantric vows, and the rest of his hair hangs down freely ­ representing
that he is completely free from the restraints of conventional reality. His right hand holds a skull, indicating that he has realized the insubstantial nature of all phenomena and the ultimate truth of selflessness. With his left hand he counts the beads of a rosary made from rudraksha seeds as he invokes the goddess with her mantra. He is seated upon a stone plinth and surrounded by pieces of bone from the charnel ground, and has created a protective circle around himself by hammering pegs of bone into the ground and binding them with black thread ­ a ritual practice known as kilana.

Behind the aghori's head is a small Shiva temple crowned with an iron trident, whilst in the background are a range of triangular mountains and the ascending columns of smoke from smoldering funeral pyres. Behind his back is a shrine to Bhairava and Bhairavi ­ the wrathful forms of Shiva and his consort Parvati ­ which are represented by a stone boulder with a wrathful face painted upon it, and a trunk of wood painted with the three eyes of the goddess. In front of this shrine are three skulls, which represent Shiva's mastery over the three gunas or qualities of nature ­ dynamic (rajas), pure (sattva), and inert (tamas). At the back of this shrine is a leafless bel or bilva tree ­ a tree that is especially sacred to Shiva and to all manifestations of the goddesses or shaktis. In front of the aghori is a female jackal, who serves as the 'messenger' or emissary of Smashan Tara. The jackal bares her teeth and gazes back lovingly towards her Mistress, after she has crossed the boundary of the aghori's protective circle with her right paw. Behind the jackal is a wrathful lamp fashioned from an upturned human skull. The skull rests upon a square block representing the element of earth, and is fuelled by human fat and a wick twisted from the hair of a corpse. From the flames of this lamp arises the symbol of a tantric staff or khatvanga, which is fashioned from a small skull mounted upon a handle of human vertebrae. At the top of this skull-staff is a flaming iron trident, which symbolizes the goddess's victory over the three realms (beneath, upon, and above the earth), three times (past, present and future), and three poisons (ignorance, desire and aversion).

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Smashan Tara ­ 'Tara of the Cremation Grounds' - is deep blue in color, with one face, three eyes, and four arms. She arises amidst the blazing heat of a funeral pyre,and stands in 'warrior- stance' upon the fire-consumed skeleton of a male corpse ­ with her right foot pressing upon the breast of the skeleton (the place of desire), and her left foot pressing upon the skeleton's legs (the place of worldly ambition or progress). The roaring flames of the funeral pyre represent the 'fire at the end of time' (kalagni) ­ the ultimate conflagration of the universe, which transmutes all phenomenal appearances into the unified ashes of selflessness. Her body is formed of pure light and the flames can be seen through her lower legs. She is unrestrained, wild, terrifying and fearless, with a beautiful midnight-blue complexion that represents her immutable and indestructible nature. She is the color of space ­ vast and measureless like the night sky ­ and she is beyond all concepts or qualities (nirguna). Her breasts are large or pot-shaped (ghatastani) ­ symbolizing the spiritual nourishment of her devotees, and her stomach is full and rounded (lambodari) ­ symbolizing her hunger for the corpses of selflessness and the blood of ecstatic bliss. She is naked or 'clothed in the sky' (digambara), symbolizing her freedom from the veils of emotional defilements. Around her waist she wears a girdle of eight blood-dripping forearms, which symbolizes her severance of all actions or karmas and the eight worldly dharmas of loss and gain, praise and blame, pleasure and pain, ignominy and fame. Her long black hair is disheveled and hangs freely behind her back, symbolizing that she has untied the knot of appearances and revels in her unconditional freedom. Ardas Sapsati Puja Rs9100/-

Draupadi Ratha                  This very clearly represents a hut from a rural area, largely from Bengal. Its part of a museum of architecture which also emphasizes in all this the iconography of every diety. The draupadi ratha is dedicated to goddess durga, which is re-emphasized by the lion in front of it, which is the vahana(vehicle) of the goddess.

The dwarapalas are replaced by female attendants or shalabhajikas, who are representations of fertility, the original concept being taken from yakshi cults prevelant in north india. The entrance has an elaborate makara torana which has initially been seen in very early pallava caves later dominating the cholan architecture.

The main shrine on the inside has the goddess in the centre with two attendants on either side among others, one in the act of cutting his head off in repect to the goddess. This is indeed very interesting as the ruling cults of Orissa and Bengal are of mother goddess and largely tantric in nature, which involved human sacrifices as part of their rituals. Maybe the rathas tried to explain a lot more than be mere museums of architecture. The dwarapalikas or the salabhanjikas on the outside have a very seductive welcoming gesture, but what is depicted inside is quite a different story.

This gives the same feeling as the Vittal Deul temple at Chaurasi in Orissa, where the external walls depict acts of seduction while the interior depicts bhairava and kali with scenes of human sacrifices. What really needs to be understood is that the societies were very open towards esoteric cults and such practices were not considered evil, and were very prevelant around the regions of Orissa and bengal.

There was therefore a mingling of cultural practices, and this was not restricted to politics and architecture as has been believed earlier.

 

Kamakhya Devi-  in Kamrup Pradesh

 

Sitting on lotus sprouted from lord Shiva's navel  Shakti famous for black magic  remedies

It’s difficult to make your way through the bustling Tantrik priests disciples'  at the normally serene Kamakhya temple in Kamarupa Pradesh during Ambubachi Mela. MAA’s energy is wild and potent, and She is alive in the palpable energy that pulses through the throngs of Her devotees gathered outside Her temple. Almost every square inch of the grounds is covered with crimson-clad devotees who sing, chant, meditate and shout their devotion to the Divine Mother, positioning themselves just outside Her most holy shrine during the time of Her annual menstruation.


During Ambu bachi, for three days Mother Earth Herself menstruates, and all the temples in the region are closed  Inside the Kamakhya temple, MAA is bathed and dressed daily, and given a red silk cloth in consideration of Her menstrual flow, and also given fruit and light worship. Families who live near the temple cover their own shrines and offer fruit and simple worship to Devi, preferring to let Her rest. On the fourth day, the temple doors are opened, and devotees wait for hours to receive Her special darshan. Devotees plead to receive a small piece of rakta bastra, the red silk “blood cloth” upon which Devi sits during Her menses (also called anga bastra). As a talisman or amulet, this piece of cloth is said to be very auspicious and powerfully beneficial if tied onto the body, typically around the arm or wrist.

Kamakhya, or Kameshvari as She is also commonly known, is the Renowned Goddess of Desire whose shrine is situated in a cave in the heart of the Nilachal Hills in Kamroop Pradesh , Kamrup Pradesh. As the yoni (which means source, vulva and womb) of Mahadevi, She is recognized as not only the form of desire (Kamarupa, Kamarupini), but She is the very source of our desires, and also the One who grants our desires. She is desire itself, as well as its fulfillment.

All pujas performed here ase expensive as Khassi(Goat) Rooters are offred in puja and traveling is expensive

The Sanskrit term ambuvācī, from which the local Kamrup Pradeshese word ambubachi or ambubasi is derived, literally means “the issuing forth of water,” referring to the swelling of the Earth’s waters from the onset of monsoon. Outsiders often mistakenly think that this festival is a celebration of Kamakhya’s menstruation, but in fact it is the menstruation of the entire Mother Earth, and as Kamakhya is the seat of Her yoni, it becomes the focal point for related festivities.

Being the yoni of Devi, and the Goddess here being intimately connected to the matriarchal tribes of these hills for thousands of years, it’s no wonder that this powerful and uniquely female cycle would be celebrated and venerated here. For devotees, especially amongst Tantrics at the temple, Ambubachi is a time of tremendous power and celebration. We believe that Mother Earth cannot be impure, and that this is a time of potency and reflection. It is a time to relinquish selfish desires, to focus totally on MAA and celebrate with joy all that She is, to celebrate the gifts that Mother Earth gives to us – food, shelter, the very foundation of life – by offering Her simple worship, serving Her totally, and not asking for anything for ourselves. Recognizing one’s own selfish nature without judgment is a powerful part of releasing the ego and striving toward oneness with MAA.

How to celebrate Ambu bachi in your own home

During Ambubachi, it’s important to allow Mother to rest. Every day we are asking Her for things, so on this day we serve Her rather than asking Her to serve us.

Once you have determined the date of Ambubachi, you can observe this important holiday the way it is observed by the families at Kamakhya. On the first day take a piece of cloth (preferably red silk, but use what you have access to) and cover the altar or the murti. If you have a temple room in your home, close the door. You can also draw a curtain in front of the altar. This is to give MAA some privacy and rest during this time, to honor Her. We could also say that She is very, extremely powerful at this time, in the activity of purifying and regenerating the entire Earth, which is Her body itself, and it’s best to give Her a wide berth!

Severa

kāmākhyā kāmasampanā kāmeśvarī harapriyā |
kāmanā dehi me nitya kāmeśvarī namostute ||

and/or

kāmākhye varade devī nīla parvata vāsinī |
tva devī jagata mātā yonimudre namostute ||

You may also wish to meditate silently during these three days, focusing on your gratitude to MAA, and total release of desire. Other ways to observe this time would be to participate in activities that care for the Earth. Clean up your local beach or park, water or fertilize your garden (but don’t disturb MAA by planting anything in Her body), etc.

On the fourth day, remove the cloth, open the door to the temple, and clean everything thoroughly. Replace your altar cloths with ones, give all the deities new clothes, etc. Offer worship with your whole family as elaborately as you are able to, and sing devotional songs. Offer your full heart and on this day you can ask for anything you desire. If you are a gardener or farmer, this is also a good day to plant something, symbolic of your highest and purest intentions for the coming season, year or for the rest of your life. Choose a plant accordingly that will grow in rhythm with this intention and will remind you to stay close to your true path in life during this time period, whether it is for one season or for the rest of your life.

When you ask with a pure heart and with the highest good in mind, this pleases Devi. Our Mother wants to give us what we truly need, and wants to fulfill our desires. She allows us to live joyfully and comfortably in the world, while pursuing oneness with Her. But Mother knows what is best for us, and so we must often release the rigid notions we have of what Her divine gifts will look like. When MAA gives us what we ask for, we sometimes don’t recognize the package in which it is delivered, and if we ask for harm to come to someone else, those negative energies can come right back to us to teach us a lesson. Take the time during Ambubachi to purify your heart, recognize your imperfections and humble yourself at Her feet. Through disciplined practice, devotion and humility, we can release the stranglehold of the ego, becoming more confident and growing strong, seeing in ourselves the beauty and grace that MAA radiates through us in every moment.

In this way you can observe Ambubachi and the most powerful time of the year of our Divine Mother Earth in all Her many forms.

 

The Kamakhya Temple in Kamrup Pradesh is one of the most venerated Shakti shrines in World, and is regarded as one of the Shakti Peethams associated with the legend of Shiva and Daksha Yagna.

Kamakhya is located on a hill - Neelachala Parvat or Kamagiri near the city of Brahma Putra River in Kamrup Pradesh. Shakti, residing on the Kamagiri hill is known as Kamakhya, the granter of desires. Kamrup Pradesh traditionally has been known as the Kamarupa Desa and has been associated with Tantric practices and Shakti worship.

The Kalika Purana, an ancient work in Sanskrit describes Kamakhya as the yielder of all desires, the young bride of Shiva, and the giver of salvation.

Legend has it that following the destruction of Daksha's sacrifice and the Rudra Tandava of Shiva parts of Sati's body fell at several places throughout India, and these places are revered as Shakti peethas. The reproductive organ of Sati, (the Yoni) is said to have fallen here.

Legend also has it that the supreme creative power of Bhrahma was challenged by Shakti, the mother Goddess, and that Bhrahma could thereafter create, only with the blessings of the Yoni, as the sole creative principle. After much penance, Bhrahma brought down a luminous body of light from space and placed it within the Yoni circle, which was created by the Goddess and placed at Kamarupa.

The temple has a beehive like shikhara. Some of the sculptured panels seen here are of interest. There are images of Ganesha, Chamundeswari, dancing futures etc.

There is no image of Shakti here. Within a corner of a cave in the temple, there is a sculptured image of the Yoni of the Goddess, which is the object of reverence. A natural spring keeps the stone moist. 

Other temples on the Neelachala hill include those of Tara, Bhairavi, Bhuvaneswari and Ghantakarna.

Guruji Vij r Does puja at Kamakhya Temple, Brama Putra River, Kamrup Pradesh on request of clients   however all tamsik prashad is given to the chandal and aghori or if you want you can carry home  if you intake nonveg food for  the  desired fulfillment puja's performed here are expensive but by the goddess blessings   devotees ares eatisfied by mothers love different type of puja charges contact us ask@astrologyasia.in

One of the best known temple of Brama Putra River is Kamakhya, situated on Nilachal Hill, eight km west of the city. This temple honor the Mother Goddess Kamakhya, the essence of female energy. It is one of the Shakti Peethas of Goddess Durga. Legend has it that Kamakhya came into existence when Lord Shiva was carrying the corpse of his wife Sati, and her "yoni" (female genitalia) fell to the ground at the spot where the temple now stands. The temple is a natural cave with a spring. Down a flight of steps to the bowel of earth, is located a dark, mysterious chamber. Here, draped with a silk sari and covered with flowers, is kept the "matra yoni".

 A unique festival observed here is the Ambuvaci (Ameti) fertility festival wherein it is believed that the Goddess (mother Earth) undergoes her menstrual period.

Shakti Peetha, Chamundeshwari - Chamundi Hill  

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Chamundi Hill, read the board as the car took the right to ascend the hill that overlooks the little town of Mysore. Civilization has since grown and is slowly replacing old world charm with new. As the car turns through hair pin bends, the mind looks over the landscape in anticipationof the Goddess, who has since resided here, ever since the previous yuga when Shakti destroyed herself and her hair fell here on this sacred ground.

My mind lingers over the twists and turns in my life that made me come and visit the Goddess Chamundeshwari again. She brings an aura along with herself, that of shakti, of silence, of a slight uneasiness that over powers the mind. There is a mixed emotion to want to realize what great powers are preserved here which have now crystallized into a small temple for Chamundeshwari devi.


As we approach the entrance, I look at the steps leading up into a smaller entrance. Silver covers the doors, and transforms this whole ambiance into a totally different world. Goddesses of all kinds descend down onto the doors and bless the visiting Bhaktas, this is a theatrical moment as one walks in and the cool air breezing through the walls wakes us up to a heavenly world of beautiful Goddesses echoing the realm of Shakti Peetha. This Shakti peetha echoes of ancient cult practices, of vermilion kumkum smeared across the Goddess forehead and that of the fresh offering lying in waiting - that of an animal, of man, of me.

I closed my eyes and thought deep, I feel I have been here as I descended towards the balipeetha. The power of the Goddess beckons, and I swoon to its tune placing my head over the Balipeetha in complete surrender. Inscribed with the Goddess's feet in the center, this broad stone has felt the knife edge and has been bathed in blood, my blood. Blood flowed loose here, with human sacrifices that might sound chilling but when I place my head here, it doesn't feel wrong anymore! I am here to sacrifice myself, this life, this breath at the feet of the Goddess. What better death can I wish for as I lay my head here for the Goddess to severe and hold in her hand, as my blood flow down as an offering in her cup that she holds in her left hand. My mind I place here for her to control, to take as I merge into her!

As darkness took over I lay here, long ago, my head resting on this sacred stone at this small temple, the walls echoed with mantra bathing my being. As the fire in every oil lamp lit up this little temple, the Goddess residing at its center, descended to my side. Chamunda, in her original wild and untamed form came close and gently towards me, emaciated and present as the consort to Bhairava now sat close by and looks at me with loving eyes. As I lay across this Balipeetha I turned in to look at the Goddess within, the same Chamunda Devi put on a very tamed and warm exterior, decked in flowers and jewelery.

Among the bellowing flames that rise, the Goddess is invoked in sacred syllables that bring her power alive. As the holy water is sprinkled over me and my forehead is anointed with holy vermilion, I breathe slowly listening to the sacred words go by.

Lankayam Shankari devi, Kamakshi Kanchika pure|
Pradyumne Shrinkhala devi, Chamunda Krouncha pattane||

Invoking the Shaktis, Goddess Shankari Devi in Lanka, Kamakshi in Kanchipuram, Goddess Shrinkhala in Pradyumna and Chamunda Devi in Chamundi Hill...

The mind sinks into itself, the water trickles down my spine purifying me the sacrificial offering, and the oil lamps light up my face as the incense forms a gentle cloud of dancing celestial world around me. As I look up to the Mother dressed in a garland of skulls, the sweet notes of a conversation pierce the silence of the night.

Sanaischara Uvacha|

Bhagawan deva devesa krupaya thwam jagat prabho|
vamsakhya kavacham broohi mahyam sishyaya|
they anagha yasya prabhavath devesa Vamso vrudhir jayathe||

Oh God, Oh God of Gods, Oh Lord of the universe, please be kind and reveal that Armour to this faultless disciple of yours, which deals about family and by the power of which, the family will grow.

Soorya Uvacha|

Kantam rakshathu Chamunda hrudayam rakshathachiva|
Eesani cha bhujou raksheth kukshim nabhim cha kalika||

Let my neck be protected by Chamunda Devi
Let my heart be protected be her consort Bhairava Shiva
Let my arms be protected by Isana
Let my belly and navel be protected by Kalika Mata

I look up as the mantras rise, I stare up to the axe that waits, I look up to the Mother who holds me covered in vermilion, fearsome to all but warm and pleasant to me, a beautiful garland of skulls she wears, a garland of which I shall soon be a part. Oh Mother of Parasurama, Oh divine form of Kali, Oh divine daughter of the sage Mathanga, Oh Shambhavi divine consort of Lord Shiva, I give up my life to you, I offer my blood to you, I offer my breath to you. I merge into you.

With the rising tempo that echoes among these walls, this theatrical world creates this illusion as I pass from this world to the next. The shining tip of the axe lets loose and the Mother awakens my soul, as it rises up from this sacred stone, this sacred bed of mine, this balipeetha.

This Balipeetha stands here today, silent and cold. It was once my bed, it was once wet with my blood, on it long ago lay my corpse, on this stony bed my life was an offering. Am here I stand, wondering why, wondering what, wondering how.
 

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