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Maha Gurus
Bhaba Pagla inside the Womb of a Banyan Tree
© Parvathy Baul & Ravi Gopalan Nair
Bhaba Pagla was born in 1902, in the village Amta of Manikganjo, Dhaka, in Bangladesh.He was born in a Shakta family. Bhaba Pagla was the sixth child of his parents.
He grew up in a spiritual environment, and these circumstances developed in him a very humble and sweet disposition.
From a very young age he was tuned to spiritual presence within.
He was reluctant to pursue conventional education.
In his teenage years he used to sing Kirtan unto the Kali idol that was established in his ancestor's house.
He wrote songs by his instinctive poetry.
In many of his songs one can see Krishna, Kali, and Shiva all become one.
In 1947 he moved from East Bengal to Kalna in Burdwan with his Kali idol.
He had established a Kali temple there.
Bhaba Pagla established six or seven Kali temples on both sides of Bengal.
This woodcut depicts the great master as if sitting in the womb of a banyan tree and looking at the world.
Bhaba Pagla was born in 1902, in the village Amta of Manikganjo, Dhaka, in Bangladesh.He was born in a Shakta family. Bhaba Pagla was the sixth child of his parents.
He grew up in a spiritual environment, and these circumstances developed in him a very humble and sweet disposition.
From a very young age he was tuned to spiritual presence within.
He was reluctant to pursue conventional education.
In his teenage years he used to sing Kirtan unto the Kali idol that was established in his ancestor's house.
He wrote songs by his instinctive poetry.
In many of his songs one can see Krishna, Kali, and Shiva all become one.
In 1947 he moved from East Bengal to Kalna in Burdwan with his Kali idol.
He had established a Kali temple there.
Bhaba Pagla established six or seven Kali temples on both sides of Bengal.
This woodcut depicts the great master as if sitting in the womb of a banyan tree and looking at the world.
Lalon Fakir
© Parvathy Baul & Ravi Gopalan Nair
Lalon Fakir is like the son of the Shai Fakir tradition of the erstwhile undivided Bengal region. His Life and poetry flowered in the 19th Century.
His Life’s message still courses through like a strong river in the mind and hearts of the people of Bengal.
Having experienced religious conflict from close quarters, he emerged as a fierce critic of identity based conflicts.
His songs always spoke about freedom that is beyond all identities.
It is said that he lived over a hundred years.
His tradition still continues near Kushtia, Bangladesh.
In his Akhara-Majhar, every year thousands of his devotees gather on the occasion of his death anniversary.
Al-Buraq is a miraculous steed from the heavens which transported the enlightened beings.
Lalon himself used these images often in the songs.
This woodcut depicts Lalon Shai being carried towards the Divine light on the Al-Buraq.
This is depicted as his final journey.
The journey is summed up in Malayalam phrase “from what one knows to one who knows .“
This phrase is etched in the border of the wood cut.
This was the teaching from Mahaguru Thangal.
Lalon Fakir is like the son of the Shai Fakir tradition of the erstwhile undivided Bengal region. His Life and poetry flowered in the 19th Century.
His Life’s message still courses through like a strong river in the mind and hearts of the people of Bengal.
Having experienced religious conflict from close quarters, he emerged as a fierce critic of identity based conflicts.
His songs always spoke about freedom that is beyond all identities.
It is said that he lived over a hundred years.
His tradition still continues near Kushtia, Bangladesh.
In his Akhara-Majhar, every year thousands of his devotees gather on the occasion of his death anniversary.
Al-Buraq is a miraculous steed from the heavens which transported the enlightened beings.
Lalon himself used these images often in the songs.
This woodcut depicts Lalon Shai being carried towards the Divine light on the Al-Buraq.
This is depicted as his final journey.
The journey is summed up in Malayalam phrase “from what one knows to one who knows .“
This phrase is etched in the border of the wood cut.
This was the teaching from Mahaguru Thangal.
Mayi Amma
© Parvathy Baul & Ravi Gopalan Nair
Mayi Amma was a mystic saint referred to as Siddha in Southern India.
She spent most of her time in Kanyakumari, in the southern tip of Indian Subcontinent.
In the later years she lived in Salem, Tamil Nadu.
There are many miraculous stories connected to her.
People often spotted her floating on the ocean water.
She used to enter sea waters and return only after several months.
While on the shore, she was always accompanied by dogs. They were her fond followers.
Her facial features resembled as if she belonged to North-Eastern part of the country.
Many believed that she possibly came down south from Tibet.
Some also believe that she lived for over five hundred years.
One cannot establish these beliefs as facts but nevertheless it was indeed true that she was a great spiritual master and she drew many great beings towards her.
She finally took Samadhi in 1984.
On another occasion a great spiritual master Mata Amritananda Mayi visited Mayi Amma.
It was that sacred moment which inspired this woodcut.
Here one can see Mayi Amma is seated in the lap of Mata Amritananda Mayi, who in turn is seated in the womb of Svarupa, i.e. the real form of Mayi Amma.
Dog disciples (special beings) are surrounding them.
Mayi Amma was a mystic saint referred to as Siddha in Southern India.
She spent most of her time in Kanyakumari, in the southern tip of Indian Subcontinent.
In the later years she lived in Salem, Tamil Nadu.
There are many miraculous stories connected to her.
People often spotted her floating on the ocean water.
She used to enter sea waters and return only after several months.
While on the shore, she was always accompanied by dogs. They were her fond followers.
Her facial features resembled as if she belonged to North-Eastern part of the country.
Many believed that she possibly came down south from Tibet.
Some also believe that she lived for over five hundred years.
One cannot establish these beliefs as facts but nevertheless it was indeed true that she was a great spiritual master and she drew many great beings towards her.
She finally took Samadhi in 1984.
On another occasion a great spiritual master Mata Amritananda Mayi visited Mayi Amma.
It was that sacred moment which inspired this woodcut.
Here one can see Mayi Amma is seated in the lap of Mata Amritananda Mayi, who in turn is seated in the womb of Svarupa, i.e. the real form of Mayi Amma.
Dog disciples (special beings) are surrounding them.
Bama Khepa at Tarapeeth cremation ground – 78cm x 56½ cm_edited.jpg
© Parvathy Baul & Ravi Gopalan Nair
This woodcut print was being showcased at the British Museum as part of the Tantra Exhibition in 2020.
Bamakhepa is regarded as one of the great Shakta Siddha’s from Bengal.
He resided all his life in the sacred funeral ground of Tarapith in Birbhum District of West Bengal.
He was a devout sadhak of the Divine Mother Tara.
Goddess Tara in Tarapith is considered Smashan Tara, i.e. a specific form of the Goddess Tara presiding over the funeral ground.
She adorns an Ugra form, meaning a fierce form. Doing her Sadhana demands great courage and an attitude of fearlessness.
Bamakhepa was called as Khepa, which in Bengali means ‘Mad one’.
His life story evokes deep devotion. He was the contemporary of Sri Ramakrishna Paramahamsa.
Thus the land of Bengal was doubly blessed with two spiritual greats at the same time.
His devotees consider him as the Bhairava of Tarapith.
This woodcut depicts the Bhairava aspect of Bamakhepa.
He is surrounded by dogs who are special beings residing in the funeral ground.
The presence of a Black dog depicts Bhairava tattva.
One can see the pyres burning, and in the background a depiction of Tarapith temple can be noted.
During old times, this temple was a simple structure with a main worship space for the Goddess.
However it is difficult to fathom where Her sphere of energy begins and ends as Her presence pervades all through this sacred funeral ground.
This woodcut print was being showcased at the British Museum as part of the Tantra Exhibition in 2020.
Bamakhepa is regarded as one of the great Shakta Siddha’s from Bengal.
He resided all his life in the sacred funeral ground of Tarapith in Birbhum District of West Bengal.
He was a devout sadhak of the Divine Mother Tara.
Goddess Tara in Tarapith is considered Smashan Tara, i.e. a specific form of the Goddess Tara presiding over the funeral ground.
She adorns an Ugra form, meaning a fierce form. Doing her Sadhana demands great courage and an attitude of fearlessness.
Bamakhepa was called as Khepa, which in Bengali means ‘Mad one’.
His life story evokes deep devotion. He was the contemporary of Sri Ramakrishna Paramahamsa.
Thus the land of Bengal was doubly blessed with two spiritual greats at the same time.
His devotees consider him as the Bhairava of Tarapith.
This woodcut depicts the Bhairava aspect of Bamakhepa.
He is surrounded by dogs who are special beings residing in the funeral ground.
The presence of a Black dog depicts Bhairava tattva.
One can see the pyres burning, and in the background a depiction of Tarapith temple can be noted.
During old times, this temple was a simple structure with a main worship space for the Goddess.
However it is difficult to fathom where Her sphere of energy begins and ends as Her presence pervades all through this sacred funeral ground.
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