ICONOGRAPHY FORMS OF TARA

Tara also known as the Jat sun dolma is an important figure in

Buddhism, especially revered in Tibetan Buddhism. She appears as a
female bodhisattva in Mahayana Buddhism, and as a female Buddha
in Vajrayana Buddhism. She is known as the “mother of liberation”
and represent the verities of success in work and achievement. she is
known as Duoluo pusa in Chinese Buddhism, and as tara Bosatsu in
Japan.
Tara is a meditation deity revered by practitioners of the Tibetan
branch of Vajrayana Buddhism to develop certain inner qualities and
to understand outer, inner and secret teachings such as karuna
(compassion), Metta and sunyata (emptiness).
Tara may more properly understood as different aspect of the same
quality, as bodhisattvas are often considered person if cations of
Buddhist methods. There are some recognition is some schools of
Buddhism of twenty one Taras. A practice text entitled praises to the
21 Taras, is the most important text on Tara in Tibetan Buddhism.
Another key text is the tantra which is the source for all the function
of Tara, mother of all tathagatas.
The main Tara mantras is the same for Buddhist and Hindus a like:
Om Tara tune subha. It is pronounced by Tibetan and Buddhist who
follow the Tibetan traditions as an tare to tare tune soha. The literal
translations would be “om o tara, I pray o tara, of swift one, so be it.
The Tara goddess also remembered in legend as suffering to be
reincarnated as a man, as she wanted to show the power of women
to achieve Nirvana.
Who is Tara the Buddhist Goddess?

pg. 1
One of the oldest religions in existence is that of Buddhism, a set of
religious and philosophical principles dating from about 400-600
years before the beginnings of Christianity. It is based on the
teachings of Siddhartha Gautama, the Buddha, meaning "the
enlightened one." Buddhism has a vast array of theological and
philosophical literature detailing the concepts and many different
iterations. However, the central beliefs claim that life is a long
experience of reincarnation and suffering as a result of the
individuality of existence and is only ended when one has perfected

pg. 2
the self enough to pass into nirvana, the realm beyond pain and
independent existence.
Buddhism also has a collection of deities that assist and protect
different things. Among these is the Tara, a compassionate being
who helps individuals in their spiritual journey to nirvana and their
earthly water and land travel. She is most well-known in Tibet and
Mongolia, and her multiple forms allow her to act in different ways
when necessary. Buddhists worship her as a savior of men.
History of Goddess Tara
The history of the goddess Tara predates Buddhism, as she began as
and remains a prominent Hindu goddess who manifests the Mother
Goddess, Mahadevi. However, in Buddhism she is part of a long line
of Buddhas, or enlightened beings, who guide people to spiritual
excellence. Her male counterpart is Avalokiteshvara from whom she
came after one of his tears created a lake that bloomed a lotus and
sprouted the goddess. Because of her birth from an expression of
sadness, Buddhists revere her as a loving, empathetic figure who
understands pain. The Sanskrit etymology of her name is star, further
evoking her image as one who faithfully leads people.

Her main center of worship is at the Hindu temple of Tarapith,

literally the 'seat of Tara,' where both Hindus and Buddhists worship
her. Tara is a female deity in both Hinduism and Buddhism who
personifies compassion and offers salvation from the suffering of
rebirth and death. She is thought to have been born of empathy for
the suffering world and is regularly invoked for protection, guidance,
and deliverance from difficult situations.

Possible Historical Development

It is unclear when the veneration of Tara began, but she is associated

with the Shakti sect of Hinduism which worships the feminine divine

pg. 3
principle of the Mahadevi as the source of all creation rather than
the male principle of Brahman. Shakti does not deny the male
principle, recognizing the importance of both male and female, but
elevates the Mahadevi to the most prominent position. It is likely this
sect was established by the Indus Valley Civilization (c. 7000 - c. 600
BCE) and influenced the development of the popular sects of
Vaishnavism (centered on the god Vishnu) and Shaivism
(emphasizing Shiva). All three recognize the importance of balance
between male and female energies as well as the elevating effect of
personal devotion to the deity of one’s choice.

As noted, textual evidence for Tara comes first from the Rig Veda
and physical evidence of her worship from her temple at Tarapith,
established in c. 1225 BCE. The site of Tarapith was formerly (and
part of it still is) a charnel ground where corpses were left to
decompose (or were cremated) as part of mortuary rituals. These
grounds were frequented by religious ascetics known as siddhas as
well as those who were considered even more spiritually advanced
known as mahasiddhas ("great" or "perfected" siddhas) who claimed
to be able to commune with the eternal spirits and powers of the
place as well as the souls of the dead.

Tarapith (as the name makes clear) is a pith (plural, pitha, "abode" or

"seat") of Tara, a place where her power and presence are most
accessible. As she is associated with death and symbols of mortality
such as skulls in some of her forms, she may have been developed by
mahasiddhas sometime before 1225 BCE as their ishta devi, probably
as part of the Shakti sect. Whatever part purely religious
considerations played in this, their devotion to Tara would have self-
identified the group, differentiating it from others in the Shakti sect,
and helping to develop a specific form of worship of the goddess.

Although her role in Hinduism historically comes before that of

Buddhism, the later religious system claims that different worlds
exist in the universe, thus Buddhism and Tara's role in it are before
Hinduism because they are outside historical time.

pg. 4
Tara symbolizes femininity, maternal compassion, and growth in
wisdom. Her associations with the lotus and the moon also show her
connections with moral guidance.

Tara as Symbol of Transformation

She is believed to quickly respond to adherents who recite her

mantra, "Om Tare Tuttare Ture Svaha" (pronounced Ohm Tahray
Too-Tahray Turay So-ha), which cannot be literally translated but
essentially praises the goddess for her role as saviour and asks for
her speedy assistance. The mantra is often chanted or sung to
musical accompaniment and repeated during private meditation or
public worship. The mantra is thought to not only bring Tara into the
physical and spiritual presence of the one reciting it but also
encourage growth and change. The symbolic transformation of tara
gave a broad detail about the female goddess.

pg. 5
pg. 6
Although her role in Hinduism historically comes before that of
Buddhism, the later religious system claims that different worlds exist
in the universe, thus Buddhism and Tara's role in it are before
Hinduism because they are outside historical time.

TARAS OF FIVE COLOUR AND 21 FORMS

Strictly speaking, only those deities can be called Taras to whom the
mantras: Om Tare Tuttare Ture Svaha is assigned. In the
simply forms Taras carry the lotus in the left hand and
exhibit the Varada mudra in the right. Some of them bear
the miniature image of Amoghasiddhi on their crown, but
other may not have any effigy of the Dhyani Buddha. It is
therefore difficult to identified their image, particularly in
stone where no definite colour can be seen. Special
attention should therefore be paid only to the particular
pose in the different Taras sit but also to their companion
in order to arrive at a correct identification. In this section
an attempt will be made to indicate the characteristic
features of the numerous Taras describe in the sadhanas
for the purpose of differentiation.
In the tantric works there are so many different varieties of Tara that
is physically impossible to classify them correctly without
reference to their peculiar colour. All Taras are therefore
brought together under one head in this section. From
the colours of the different Taras, it will be possible to
refer them to their respective Kulas or families presided
over by the five Dhyani Buddhas.

pg. 7
Tara herself can manifest in 21 forms and so embodies the value of
transformation. Aside from her mantra, adherents also
recite the prayer known as Praises to the Twenty-One
Taras which, names each of her forms, what that form
protects against, asks for her help, and praises her for
salvation from rebirth and death. Her most popular forms
are:

Green Tara by Leslie Rinchen-Wongmo, 2008. Pieced-

silk thangka,
silk, satin, and brocade, gold and pearl, 53 x 35 inches.
Image courtesy of the artist

In Himalayan representations, Tara can appear in as many as

21 forms, and in painting and pieced-silk images, she is
depicted in five different colors—like the Five Dhyani-Buddhas
—the most common of which are Green Tara (after a Chinese
princess in a Buddhist legend) and White Tara (after a Nepalese
princess). Green Tara is associated with enlightened activity
and active compassion, and is the manifestation from which all
her other forms emanate. In the pieced-silk thangka by artist

pg. 8
Leslie Rinchen-Wongmo, Green Tara is shown seated on her
lotus throne holding lotuses, an attribute that she shares with
her male counterpart, Avalokiteshvara. Her lotus is usually the
blue or night lotus (Skt: utpala), a flower that releases its
fragrance with the appearance of the moon. So as well as being
associated with the stars, Tara is also related to the moon and
the night. As Green Tara, she is also associated with
fertility and the growth and nourishment of plants, flowers,
and trees. 

1. Khadiravani Tara shows vhorodamudra in the right hand and

the night lotus in the left. She can be identified by the presence
of Ashok anta marici and ekjata.
2. Vasyatara has her characteristics features Bhadrapada or
European fashion of sitting. It may be noticed however that she
its describe single and as such is not accompany by any god or
goddess.
3. Arya Tara the characteristics features of these forms of tara
that she sits in the ardhapryanka attitude and like vasyatara is
entirely alone.
4. Mahattari Tara may be distinguished by the vairaparyanka
attitude in which sits, and also by the fact of her being
representee - ted without any companion whatever.
5. Varada Tara sits in the ardhyaparyanka attitude like Arya tara
but she can be easily recognising by the presence of four
goddess Asoka anta marici Mahama Uri, ekjata jangudi.
6. Durgattarini Tara has green complexion, the lotus for her seat,
and garments of white colour :she has four arms and she
carries in the hrst pair of hands the nose the god and displays in
the second lotus and the Varada mudra.

pg. 9
 7. Dhanada Tara carries the book and the rosary in the first pair of
hands, while the second pair carries object similar to those held
by durgattarini. She has an animal for her Bahana, is
accompanies by eight goddesses originating from the eight
syllables of for mantra and bears the image of amoghasiddhi on
the crown.
8. Janguli emanates from aksovhya and may have three different
colour, yellow, white and green. When green, she is four armed
and carries the trisula, the peacock’s feathers and a snake in
three hands and exhibits the Abaya mudra in the fourth.
9. Parnasavari when green inmates forms amoghasidhhi and
when yellow from Asoka Haya, and as such, both of her forms
have already been describe. She is generally three faced 6
armed but may in rare cases, have four arms also. The
peculiarity of the green verities is that all the tree faces depict
erited smile.

pg. 10
pg. 11
 White Tara by Leslie Rinchen-
Wongmo, 2001.
Pieced-silk thangka, silk, satin, and brocade, 
58 x 30 inches including brocade frame.
Image courtesy of the artis

White Tara is associated with maternal compassion and

healing. In many representations, she has eyes in the palms of
her hands and on the soles of her feet, as well as in the center
of her forehead, representing her power to see those who are
suffering and offer her aid. The pieced-silk thangka illustrated
above clearly depicts the eyes in her palms, as she holds her
right palm outward to grant the wishes of her followers. White
Tara is specifically associated with practices aimed at
lengthening one’s lifespan in order to continue the practice of
the Dharma and to progress further along the path to spiritual
fulfilment.

Represented as the Chinese princess who married the king

of Tibet, the White Tara provides the faithful with long life
and good fortune. Her image is not always literally white,
but she has a third eye on her forehead and sometimes
extra eyes on her hands and feet. These demonstrate her

pg. 12
constant view of both the world and the future
enlightenment for which humans strive. Additionally, eyes
on her hands represent giving. Her clothing is typically that
of a Bodhisattva, or one who gives spiritual advice to fellow
humans on earth, demonstrating again her own origins as a
woman who achieved enlightenment and was born of
suffering.

White Tara is a
deeply kind and
compassionate
figure, offering
hope of nirvana
and safe
passage through
the difficulties
of life as a mother protects her children. Buddhists invoke her for
healing and prosperity, as these allow for longer life and increased
chances to advance spiritually.

pg. 13
pg. 14
Yellow Tara
Yellow Tara (Golden Tara): She depicted with eight arms, hands
holding jewels or a single hand holding a jewel believed to grant
wishes. She symbolizes prosperity, physical comfort, and wealth and
is always either a shade of yellow or gold. She is invoked for financial
gain but also for the granting of wishes having to do with the welfare
of one’s family, friends, and oneself.

It contributes in the manifestation and fulfillment of one’s goals. You

are urging (kuru) Tara to boost (pushtam) your life energies (ayur)
and merit (punye), your contributions to imparting positive energy to
creatures all throughout the planet, near and far, when you chant
the Golden Tara mantra. Recitations of mantras do not have to be
limited to formal practice. Use them throughout the day to help you
calm down and concentrate on whatever activity you’re working on

Mantra of Yellow Tara

OM TARE TUTTARE TURE SARVA AYUR PUNYE PUSHTAM KURU SOHA

pg. 15
 1. Vajra Tara , she is yellow, has four faces, and eight arms and
bears the image of the Dhyani Buddha Ratnasambhaba on her
crown. Pained by ten goddesses when worshiped in mandala.
2. Janguli The yellow variety of janguli has three faces and six
arms and bears the image of Dhyani Buddha Aksobhya on her
crown.
This form has already been described.
3. Prana Sabari When yellow prana Sabari is an emanation of
Aksobhya, has three faces and six arms and a pleasant smile
instead of an irritated expression on her faces. This forms of
prana Sabari has also been described under the female
emanations of Aksobhya.
4. Bharkuti is yellow and emanates from Amitabha. She is one
faced and four armed shows the Varda mudra and the rosary in
the two right hand and carries the Tridandi and the kamandalu
in the two left .

pg. 16
Red Tara
Red Tara (Kurkula): She depicted with eight arms, each hand holding
a different object associated with warning against and protection
from danger. She is associated with the attraction of positive
energies, spiritual focus, and psychological/spiritual victory. She is
often invoked by those trying to break bad habits.

Red Tara goddess pictures

There are not many Red Taras in the Sadhana Mala, kurukulla being
the only one belonging to the red variety. As she bears the image of
Amitabha on the crown, she inherits from him as his emanation, her
red complexion. Kurukulla may also bear the image of the five Dhyani
Buddha on her crown, but that will make no difference as to her
colour of her complexion. She will be white when two armed and red
when four , six or eight armed . All her forms have been have been
described previously.

Red Tara goddess pictures

pg. 17
pg. 18
BLUE Tara
BLUE Tara: She is associated with personal spiritual power, she is
depicted with an open mouth and wrathful expression as though
yelling, seated on a sun disc sometimes alive with flames, holding a
black urn containing the essential forces necessary to overcome
negative energies and destructive forces, whether internal or
external. She is invoked to clear obstacles one has created or those
placed in one’s path by others or circumstance.

All of her forms are transformative in nature and, as noted,

encourage transformation in adherents. Tara continues in this role
after one’s death as she serves as a protector and a guide in the
afterlife. In the work known as Bardo Thodol (“Liberation Through
Hearing in the Intermediate State”), better known as The Tibetan
Book of the Dead, Tara is invoked for protection and called on in the
concluding Prayer for Guidance. In the prayer, she is invoked in her
various forms and colors to assist the soul in finding peace.

Whatever her color or form, she is always shown as a young, slim,

healthy woman ready to spring into action on behalf of her devotees.
Tara’s ability to address the needs and concerns of virtually every
aspect of a believer’s life makes her among the most popular, if not
the most popular, goddess in the Buddhist pantheon in the present
day, just as she has been regarded in the past.

Her appeal to women who know they are equally as capable of

spiritual enlightenment as men adds to her popularity. Theravada
Buddhism and some other schools of Buddhist thought hold that to
reach the highest spiritual plane and be free of rebirth as well as
death, one must be incarnated as a male, but Tara shows clearly in
her story of enlightenment in the realm of multi – colored light that
“male” and “female” are illusory distinctions clung to by superficial
minds unable to recognize the true nature of reality.

pg. 19
 Blue tara image

Ekjata she may have several forms with blue colour, and she bears
the image on her sire Aksobhya on her crown in all cases. All her
forms have been described previously along with the other Dhyani
Buddha. Aksobhya including the terrible forms which goes by the
name of Vidyujjuvalakarali of the blue colour, with twelve faces and
twenty-four arms.

Mahiba tara she is also bear the image of aksobhya on her crown and
has already been describe as one of the female emanations of that
Dhyani Buddha . she is called mahasina tara because she is believed
to have come from Mahasina where she was originally worshipped.

She is the subject of the Mahacinakarma tantra and has been

incorperted wholly Hindu tantric pantheon.

pg. 20
As a Tantric deity
Tārā as a focus for tantric deity yoga can be traced back to the time
period of Padmasambhava. There is a Red Tārā practice which was
given by Padmasambhava to Yeshe Tsogyal. He asked that she hide it
as a treasure. It was not until the 20th century, that a great Nyingma
lama, Apong Terton rediscovered it. It is said that this lama was reborn
as Sakya Trizin, present head of the Sakyapa sect. A monk who had
known Apong Terton succeeded in retransmitting it to Sakya Trizin, and
the same monk also gave it to Chagdud Tulku Rinpoche, who released it
to his western students.
Martin Willson in In Praise of Tārā traces many different lineages of Tārā
Tantras, that is Tārā scriptures used as Tantric sadhanas. [31] For
example, a Tārā sadhana was revealed to Tilopa (988–1069 CE), the
human father of the Karma Kagyu. Atisa, the great translator and
founder of the Kadampa school of Tibetan Buddhism, was a devotee of
Tārā. He composed a praise to her, and three Tārā Sadhanas. Martin
Willson's work also contains charts which show origins of her tantras in
various lineages, but suffice to say that Tārā as a tantric practice quickly
spread from around the 7th century CE onwards, and remains an
important part of Vajrayana Buddhism to this day.
The practices themselves usually present Tārā as a tutelary deity (thug
dam, yidam) which the practitioners sees as being a latent aspect of
one's mind, or a manifestation in a visible form of a quality stemming
from Buddha Jnana. As John Blofeld puts it in The Tantric Mysticism of
Tibet:

pg. 21
Tara in Hinduism

There are several origin tales for Tara in Hinduism but one of the
best-known concerns the goddess Sati, consort of Shiva. Sati’s father,
Daksha, insulted Shiva by not inviting him to participate in a sacred
fire ritual. Sati felt personally responsible for this slight and, unable
to live with the shame of her father’s actions, threw herself into the
fire during the ritual. Shiva went mad with grief and, to help him,
Vishnu gathered up the parts of Sati’s body and scattered them
across India. Wherever a part fell, it bloomed into a manifestation of
another goddess, and so Sati continued to live through them. Each of
these sites was then recognized as a pith – the home or "seat" of a
particular goddess.

One of Sati’s eyeballs is said to have fallen at Tarapith, making that

her seat, and the temple was later raised in her honor. The site was
obviously associated with Tara before the construction of the temple
and especially its charnel grounds where the siddhas and
mahasiddhas would engage in their rituals.

The mandala (Sanskrit for "circle") is a geometric shape expressing

spiritual meaning and interpreted by those who view it as a kind of
map of their inward journey. It can also be understood as a
representation of Divine Order, which is how it would be understood
regarding the pitha. Hinduism is known to adherents as Sanatan
Dharma ("Eternal Order"), and the universe is understood to operate
according to the rules of that order created and maintained by
Brahman. When Vishnu scattered the parts of Sati’s body, therefore,
Divine Order directed where they would land for its own purposes;
these purposes were later understood as the creation of a mandala
to aid human beings in their spiritual work.

pg. 22
pg. 23
The pitha became pilgrimage sites and Tarapith one among many
(51, according to some traditions, 12, 24, or 32, in others). Tarapith
honours Tara in her form as compassionate mother while also
recognizing her fierce protective nature. Accordingly, blood sacrifices
were made (and still are in the present) to the cult statue of the
goddess inside the temple. Participation in the rituals at Tarapith are
believed to be restorative, curing illnesses (both physical and
psychological) and even bringing the newly dead back to life.

As a saviouress

Green Tara, Nepal, 14th century. Gilt copper inset with

precious and semiprecious stones, 20.25 in (51.4 cm) tall. The
Metropolitan Museum of Art, Louis V. Bell Fund, 1966, 66.179.
Tārā also embodies many of the qualities of feminine principle.
She is known as the Mother of Mercy and Compassion. She is
the source, the female aspect of the universe, which gives birth
to warmth, compassion and relief from bad karma as
experienced by ordinary beings in cyclic existence. She
engenders, nourishes, smiles at the vitality of creation, and has
sympathy for all beings as a mother does for her children. As
Green Tārā she offers succor and protection from all the
unfortunate circumstances one can encounter within the
samsaric world. As White Tārā she expresses maternal

pg. 24
compassion and offers healing to beings who are hurt or
wounded, either mentally or psychically. As Red Tārā she
teaches discriminating awareness about created phenomena,
and how to turn raw desire into compassion and love. As Blue
Tārā (Ekajati) she becomes a protector in the Nyingma lineage,
who expresses a ferocious, wrathful, female energy whose
invocation destroys all Dharmic obstacles that engender good
luck and swift spiritual awakening.[17]
Within Tibetan Buddhism, she has 21 major forms in all, each
tied to a certain color and energy. And each offers some
feminine attribute, of ultimate benefit to the spiritual aspirant
who asks for her assistance.
Another quality of feminine principle which she shares with
the dakinis is playfulness. As John Blofeld expands upon
in Bodhisattva of Compassion,[29] Tārā is frequently depicted as
a young sixteen-year-old girlish woman. She often manifests in
the lives of dharma practitioners when they take themselves, or
the spiritual path too seriously. There are Tibetan tales in which
she laughs at self-righteousness, or plays pranks on those who
lack reverence for the feminine. In Magic Dance: The Display
of the Self-Nature of the Five Wisdom Dakinis, Thinley Norbu
explores this as "Playmind".[30] Applied to Tārā one could say
that her playful mind can relieve ordinary minds which become
rigidly serious or tightly gripped by dualistic distinctions. She
takes delight in an open mind and a receptive heart then. For in
this openness and receptivity her blessings can naturally unfold
and her energies can quicken the aspirants spiritual
development. These qualities of feminine principle then, found
an expression in Indian Mahayana Buddhism and the
emerging Vajrayana of Tibet, as the many forms of Tārā, as
dakinis, as Prajnaparamita, and as many other local and
specialized feminine divinities. As the worship of Tārā
developed, various prayers, chants and mantras became
associated with her.

pg. 25
These qualities of feminine principle then, found an expression
in Indian Mahayana Buddhism and the emerging Vajrayana of
Tibet, as the many forms of Tārā, as dakinis,
as Prajnaparamita, and as many other local and specialized
feminine divinities. As the worship of Tārā developed, various
prayers, chants and mantras became associated with her.

Two ways of approach to her began to emerge. In one common

folk and lay practitioners would simply directly appeal to her to
ease some of the travails of worldly life. In the second, she
became a Tantric deity whose practice would be used by
monks or tantric yogis in order to develop her qualities in
themselves, ultimately leading through her to the source of her
qualities, which are Enlightenment, Enlightened Compassion,
and Enlightened Mind.

pg. 26
Tara: A Powerful Feminine Force in the Buddhist Pantheon

In the northern schools of Buddhism, the rich traditional

pantheon of deities is, like in many religious and spiritual
traditions, somewhat male-dominated. At the center
is Shakyamuni Buddha, a man who lived among us some 2,500
years ago and attained spiritual perfection.

In the Tantric traditions of the Himalayas, there are also the

Five Dhyani-Buddhas or Five Tathagatas (self-born, celestial)—
Vairocana, Amoghasiddhi, Amitabha, Ratnasambhava,
and Akshobhya—all manifestations of various teachings and
spiritual powers of the Buddha, and also all male. Bodhisattvas,
compassionate beings who have postponed their own
enlightenment to remain in this realm and help other sentien
beings, are also described in texts and depicted in art as male,
although the most revered of these, Avalokiteshvara
sometimes assumes female form.

pg. 27
Then there are arhats  (holy men), Kings of Light, wrathful
deities, and various lesser divinities who help followers along
their spiritual path. These too are mostly male and are often
depicted embracing their female consorts. Independent female
deities are relatively scarce, however there is one Buddhist
deity who is not only supremely beautiful in her
representations, but is also believed to possess spiritual power
that is at least the equal of her male cosmic counterparts: Tara.

Tara is undoubtedly the most powerful female deity in the

Buddhist pantheon. Her name means “star” in Sanskrit and she
is believed to possess the ability to guide followers, like a star,
on their spiritual path. In some northern Buddhist traditions,
she is considered a bodhisattva and is often described in texts
and depicted in imagery as the female consort of the most
widely revered bodhisattva, Avalokiteshvara. In some Buddhist
legends, it is said that she was born from one of
Avalokiteshvara’s tears, shed in a moment of deep
compassion. Other Buddhist legends, however, tell of a devout
Buddhist princess who lived millions of years ago who became
a bodhisattva, vowing to keep being reborn in female form
(rather than in male form, which was considered more
advanced on the path to enlightenment) to continue helping
others. She remained in a state of meditation for 10 million
years, thus releasing tens of millions of beings from suffering.
Since then, she has manifested her enlightenment as the
goddess Tara.

pg. 28
Green Tara and the 21 Taras, Tibetan, 19th century,
woodblock printed ink on paper. Collection of Scripps College

In the Himalayan region, especially in Tibet and

Nepal, Tara’s status is more that of a supreme goddess or
female buddha than a bodhisattva. She is referred to as the
Wisdom Goddess, the Embodiment of Perfected Wisdom, the
Goddess of Universal Compassion, and the Mother of all
Buddhas. As benefits such a supremely powerful and
compassionate deity, she is often depicted in painting and
sculpture seated on a lotus throne in a pose that is at once
regal and solicitous. The “pose of royal ease,” or lalitasana, is
typically adopted by bodhisattvas such as Avalokiteshvara,
Manjushri, and Maitreya, usually depicted sitti ng in lotus
position with the right leg hanging down over the edge of the
lotus, or bent with the knee up and foot flat on the ground. In
Tara’s case, however, her right foot is usually shown positioned
on a smaller lotus, not so much relaxing but apparently poised
to propel her into action should her followers need her
assistance. 

pg. 29
In Himalayan representations, Tara can appear in as many as
21 forms, and in painting and pieced-silk images, she is
depicted in five different colors—like the Five Dhyani-Buddhas
—the most common of which are Green Tara (after a Chinese
princess in a Buddhist legend) and White Tara (after a
Nepalese princess). Green Tara is associated with enlightened
activity and active compassion, and is the manifestation from
which all her other forms emanate. In the pieced-
silk thangka by artist Leslie Rinchen-Wongmo, Green Tara is
shown seated on her lotus throne holding lotuses, an attribute
that she shares with her male counterpart, Avalokiteshvara. Her
lotus is usually the blue or night lotus (Skt: utpala), a flower that
releases its fragrance with the appearance of the moon. So as
well as being associated with the stars, Tara is also related to
the moon and the night. As Green Tara, she is also associated
with fertility and the growth and nourishment of plants, flowers,
and trees.
White Tara is associated with maternal compassion and
healing. In many representations, she has eyes in the palms of
her hands and on the soles of her feet, as well as in the center
of her forehead, representing her power to see those who are
suffering and offer her aid. The pieced-silk thangka illustrated
above clearly depicts the eyes in her palms, as she holds her
right palm outward to grant the wishes of her followers. White
Tara is specifically associated with practices aimed at
lengthening one’s lifespan in order to continue the practice of
the Dharma and to progress further along the path to spiritual
fulfillment.

pg. 30
Tara, Sino-Tibetan 18th–19th century, gilt bronze, 
20 x 13-1/2 x 9-1/2 inches. Collection of Scripps College

With all of these attributes, Tara has much to offer female

Buddhists. For much of the history of Buddhism, female
practitioners have been taught than in order to attain
enlightenment they must be reborn as a male; only then can
they progress toward full spiritual liberation. The presence of
Tara in the Buddhist pantheon over the centuries, both as a
bodhisattva and as a female buddha, has offered a sense of
inclusivity and hope of spiritual salvation to many female
practitioners. Sculptures such as this elegant 18th or 19th
century bronze figure from Nepal, which manifests the serenity
that comes with the perfected wisdom and the grace that
accompanies true compassion, are some of the world’s most
exquisite and potent representations of female spirituality. 

pg. 31
Features of Tara

Tara's features, symbols, and titles are connected to her

nature as compassionate and kind. They also show her
power to and desire to protect and guide the faithful. Some
examples of the following include:
Features

 Her emergence from a tear, symbolizing her kind

mentality
 Her depictions as having a hand or foot forward, to
showing her eagerness to guide, protect, and grant
wishes
 Her role as a navigator to souls, having first achieved
enlightenment through centuries of meditation.

Sadhanas
Sadhanas in which Tārā is the yidam (meditational deity) can
be extensive or quite brief. Most all of them include some
introductory praises or homages to invoke her presence and
prayers of taking refuge. Then her mantra is recited, followed
by a visualization of her, perhaps more mantra, then the
visualization is dissolved, followed by a dedication of the merit
from doing the practice. Additionally there may be extra prayers
of aspirations, and a long life prayer for the Lama who
originated the practice. Many of the Tārā sadhanas are seen as
beginning practices within the world of Vajrayana Buddhism,
however what is taking place during the visualization of the
deity actually invokes some of the most sublime teachings of all
Buddhism.
In this case during the creation phase of Tārā as a yidam, she
is seen as having as much reality as any other phenomena
apprehended through the mind. By reciting her mantra and
visualizing her form in front, or on the head of the adept, one is
opening to her energies of compassion and wisdom. After a

pg. 32
period of time the practitioner shares in some of these qualities,
becomes imbued with her being and all it represents. At the
same time all of this is seen as coming out of Emptiness and
having a translucent quality like a rainbow. Then many times
there is a visualization of oneself as Tārā. One simultaneously
becomes inseparable from all her good qualities while at the
same time realizing the emptiness of the visualization of
oneself as the yidam and also the emptiness of one's ordinary
self.

This occurs in the completion stage of the practice. One dissolves the
created deity form and at the same time also realizes how much of
what we call the "self" is a creation of the mind, and has no long
term substantial inherent existence. This part of the practice then is
preparing the practitioner to be able to confront the dissolution of
one's self at death and ultimately be able to approach through
various stages of meditation upon emptiness, the realization of
Ultimate Truth as a vast display of Emptiness and Luminosity. At the
same time the recitation of the mantra has been invoking Tārā's

pg. 33
energy through its Sanskrit seed syllables and this purifies and
activates certain energy centers of the body (chakras). This also
untangles knots of psychic energy which have hindered the
practitioner from developing a Vajra body, which is necessary to be
able to progress to more advanced practices and deeper stages of
realization. Therefore, even in a simple Tārā sadhana a plethora of
outer, inner, and secret events is taking place and there are now many
works such as Deity Yoga, compiled by the present Dalai Lama,
[39]
 which explores all the ramifications of working with a yidam in
Tantric practices.

Therefore, even in a simple Tārā sadhana a plethora of outer, inner,

and secret events is taking place and there are now many works such
as Deity Yoga, compiled by the present Dalai Lama,[39] which explores
all the ramifications of working with a yidam in Tantric practices.
The end results of doing such Tārā practices are many. For one thing
it reduces the forces of delusion in the forms of negative karma,
sickness, afflictions of kleshas, and other obstacles and obscurations.
The mantra helps generate Bodhicitta within the heart of the
practitioner and purifies the psychic channels (nadis) within the body
allowing a more natural expression of generosity and compassion to
flow from the heart center. Through experiencing Tārā's perfected
form one acknowledges one's own perfected form, that is one's
intrinsic Buddha nature, which is usually covered over by
obscurations and clinging to dualistic phenomena as being inherently
real and permanent.

pg. 34
The practice then weans one away from a coarse understanding of
Reality, allowing one to get in touch with inner qualities similar to
those of a bodhisattva, and prepares one's inner self to embrace finer
spiritual energies, which can lead to more subtle and profound
realizations of the Emptiness of phenomena and self.
As Chagdud Tulku Rinpoche, in his Introduction to the Red Tārā
Sadhana,[40] notes of his lineage: "Tārā is the flawless expression of
the inseparability of emptiness, awareness and compassion. Just as
you use a mirror to see your face, Tārā meditation is a means of
seeing the true face of your mind, devoid of any trace of delusion".
There are several preparations to be done before practising the
Sadhana. To perform a correct execution the practitioner must be
prepared and take on the proper disposition. The preparations may be
grouped as "internal" and "external". Both are necessary to achieve
the required concentration.
The preparations are of two types: external and internal. The external
preparations consist of cleaning the meditation room, setting up a
shrine with images of Buddha Shakyamuni and Green Tara, and
setting out a beautiful arrangement of offerings. We can use water to
represent nectar for drinking, water for bathing the feet, and perfume.
For the remaining offerings—flowers, incense, light, and pure food—
if possible we should set out the actual substances. As for internal
preparations, we should try to improve our compassion, bodhichitta,
and correct view of emptiness through the practice of the stages of the
path, and to receive a Tantric empowerment of Green Tara. It is
possible to participate in group pujas if we have not yet received an
empowerment, but to gain deep experience of this practice we need to
receive an empowerment. The main internal preparation is to generate
and strengthen our faith in Arya Tara, regarding her as the synthesis
of all Gurus, Yidams, and Buddhas.[41]

pg. 35
 

Tara statue near Kullu, Himachal Pradesh, India.

 

Conclusion

Adding to her popularity is her appeal to women who recognize they

are just as capable of spiritual enlightenment as males. Theravada
Buddhism and some other schools of Buddhist thought maintain that
one must be incarnated as a male to advance to the highest spiritual
plane and free oneself from rebirth and death, but Tara, in the story of
her enlightenment in the realm of multicolored light, makes clear that
"male" and "female" are illusory designations clung to by shallow
minds unable to recognize the true nature of reality.

Scholar Allison Mull notes how Wisdom Moon vows to continue to

be incarnated as a woman to help all sentient beings appearing in
female form recognize the divine light in themselves and encourage it
to grow. Mull notes:

It is this vow that Tara would later become known for; her insistence
on the error in designations, and her resolve to lead beings on the
higher path of realization…Liberating an infinite number of suffering
beings both day and night, Wisdom Moon came to be known as
"Savioress" or, in Sanskrit, "Tara" (8)

Some Buddhist schools (Mahayana Buddhism and Vajrayana

Buddhism, among others) have embraced Tara’s vision and vow and

pg. 36
have made use of it in attracting and ministering to women. Male and
female Buddhist monks participate in veneration of Tara in the
present day as well as millions of lay Buddhists and Hindus around
the world who continue to call on Tara to assist them in maintaining
balance, embracing transformation and change, and finding their
footing in an often-challenging world.

pg. 37
pg. 38
pg. 39
pg. 40