Tara
Tārā is a popular female deity worshipped in Mahayana and Vajrayana Buddhism, especially in Tibet. Known as a being of infinite compassion, it is said that Tārā guards and protects her people for their whole life, through times of distress as well as joy. Worship of Tārā generally includes offerings, praises, and prayer, and has been popular among both the monastic community, as well as the laity (Beyer, 3). Devotion to Tārā is usually of a highly personal nature, and devotees often pursue a connection with her on a daily basis. Great trust and reliance is placed in the ability of Tārā as a savior in times of need.
Description
Representations of Tārā typically depict her as green in colour (although she may be portrayed in other colours as well). She is often portrayed as a young woman seated in the contemplative position, with one hand in the open-palmed gesture of welcoming, and adorned by silken garments, jeweled ornamentations, and lotus flowers. Tārā may be examined from many perspectives as her being embodies several different identities and roles. This multitude of facets can be reduced to three main categories; Bodhisattva, Mother Goddess, and Tantric Deity (Willson, 11). Tārā as Bodhisattva represents a central feature of Mahayana Buddhism; the Bodhisattva is one who has taken a vow to help all other beings attain enlightenment, so that they may be free of the suffering of the cycle of rebirth. It is interesting to note that Tārā is said to have attained enlightenment state within female form. In her capacity as Bodhisattva, Tārā is closely linked to the male Bodhisattva of compassion, Avalokiteśvara; in many cases, she is considered an emanation of Avalokiteśvara. Tārā is also known as the “Mother of All the Buddhas”, which is a title linked to the feminine trait of Wisdom seen to reside in perfection within Tārā. The name Tārā is usually translated as “Saviouress.” This is reflected in her devotion to saving all beings from ‘samsara’, and leading them to enlightenment. However, this concept it further expounded in her popular role of saving her devotees from worldly dangers. She is well-renowned for protecting against the eight great dangers: lions, elephants, fire, snakes, robbers, imprisonment, water, and man-eating demons. There are many stories and accounts of Tārā’s helpfulness at saving those beset by such dangers. Alternatively, these dangers may also take on a symbolic form, portraying the eight fears as personal obstacles to be overcome, such as pride, delusion, anger, envy, wrong views, avarice, attachment, and doubt (Willson, 14). Eventually each fear was assigned its own particular representation of Tārā and it became very popular for artists to depict these different forms in their work.
Tārā in the form of great Mother Goddess shares strong links with many Brahmanical goddesses, such as Durgā and other Indian Goddesses. Her Chinese counterpart is known as Guan Yin, also widely known as a Goddess of Compassion. In this form, Tārā is an expression of the sacred and ancient Feminine, a universal concept. Also in this capacity as Goddess, Tārā is closely involved with spiritual matters, such as life and death. She appears on the Tibetan Wheel of Life as the ogress, a destructive aspect that also conveys the suffering that is the cycle of life (although her positive aspects typically dominate). Tārā is also closely tied to nature; she is associated with many features of the Earth, including plants, animals, as well as human beings. In many of her forms, flowers adorn her body, and she herself is often depicted as being green in colour. She also displays an innate connection with many animals, and many of the eight fears that she is said to protect against are threats from wild creatures (Willson, 17). Tārā demonstrates a connection with the Heavens in her capacity as Goddess; her name can also be translated in Sanskrit as ‘star’. Often, as is common with many female Goddesses, she is associated with the moon, particularly as White Tārā where she is often depicted sitting upon a moon disk (Willson, 19).
As a Tantric Deity in Vajrayana Buddhism, encompasses all the powers of an Enlightened Buddha, but yet remains in the worldly realm to assist others with her compassionate actions. Also in this context, Tārā is closely associated with karmic action. She swiftly comes to the needs of those in distress when her mantra is spoken, although sometimes only a simple thought is needed (Willson, 21). Tārā may also take on a plethora of different roles as well as forms within this capacity. Best and most widely known as Green Tārā (young, compassionate, and peaceful), she is also popular as White Tārā, who is more mature, and specializes in matters of health and longevity. She may also appear in Yellow and Blue forms which perform still other functions. At her most fierce, she is the four-armed Red Kurukullā Tārā who is paradoxically subjugating and magnetizing, violent and seductive. A central aim of Tantric practice is to visualize becoming the deity one is focused on. In meditation, one strives to take on the body of the deity, and embody that deity’s Enlightened perspective. If one seeks to identify with Tārā and seeks to mold oneself after her, this means emanating an unwavering compassion towards all other beings. The unique characteristic in Tārā as a Tantric deity is that she is female. This is so, because often being of the female gender has been perceived as detrimental to attaining spiritual progress and Enlightenment (Willson, 22). As a Tantric deity, Tārā is both a source of wisdom, and a vessel of Enlightenment, all the while being independently female.
Origins
The account of Tārā’s origins hold that she was born out of the tears of the male bodhisattva of compassion, Avalokiteśvara, which were shed in pity as he observed the vast suffering in the world. Such is her popularity that she has also been woven into creation myths in Tibetan culture that pre-date Buddhism in Tibet. In the myth telling of the birth of the Tibetan people, Tārā is the Goddess that gave birth to their people; hence she is not only a patron deity, but their mother as well (Beyer, 4). The introduction of Tārā into Tibet is also alluded to in the account that Nepalese princess Tr’itsün, wife of the great Tibetan king, Songsten Gampo (617-650), brought with her a statue of Tārā to Tibet. It is, however, historically unclear whether this sparked a devotional cult to Tārā (Beyer, 4). Some accounts describe the Tibetan King’s two wives, Nepalese princess Tr’itsün and Chinese princess Wen-ch’eng, each as versions of Tārā (Green and White Tārā, respectively), although this is still quite ambiguous. Tibetan devotion to Tārā may also have become widespread after Atīśa, a Buddhist monk from India, traveled to Tibet in 1042. Tārā was Atīśa’s personal deity throughout his life, and he may have popularized devotion to her in Tibet (Beyer, 11). There is also some suggestion that Tārā was a form of a Brahamic deity, such as Durgā, as there are some similarities in such a comparison (Willson, 14).
Worship
In order to adequately wield the protective power of Tārā the proper rituals must be followed by one who is contemplatively skilled enough to control such power. Tārā’s mantra is widely known and often repeated among her devotees: “OM TARE TUTTARE TURE SVAHA.” This translates into “One who saves, save me.” There are also many varieties to this mantra, often to fit specific circumstances and serve certain functions. Usually they will ward against a particular fear or danger, especially those outlined in the eight terrors. Other protective praises, such as recitations of homages to Tārā are also considered effective in invoking the protection of Tārā; recitation of Homages to the Twenty-one Tārās is quite popular in Tibet for this purpose (Beyer, 231). There are countless stories and accounts of ones who are beset by danger and certain death, and then having cried out Tārā’s name, or recited her mantra, have gained her protection and are then saved. The speaking of such a mantra is so central and important in practice that it holds tangible power itself, detached from and beyond the deity (Beyer, 242). Beyond the spoken use of her mantra, it may also be carved into some substance to ensure continual protection. Alternatively, an image of Tārā may perform the same function to great effect (Beyer, 236). Visualization is a very important process in invoking Tārā for protection; it is through this method that an object may become a vessel for the protective power of Tārā and her mantra. Visualization is often characterized by visualizing oneself as the deity, in as detailed a manner as possible; the power of the deity can thus be invoked. For specific reasons, one may want to visualize a particular variation of Tārā, to suit a specific need. Therefore, if one desires health and longevity, White Tārā should be the subject of visualization, and alternatively a devotee may use Red Tārā as the subject of visualization for subjugating, or Yellow Tārā if he or she desires to increase their wealth and possessions. The accompanying mantra would also be altered accordingly. In this manner, a devotee may use the basic components of praise and devotion to Tārā, recitation and visualization, and apply it to any problem that is encountered (Beyer, 242). One must thoroughly contemplate a mantra to be able to apply it successfully; often this requires extensive ritual service to the deity. Merit must be accumulated, and recitations of a mantra may be recommended to be in the tens or hundreds of thousands. All faults or interruptions in recitation must be made up for by further recitations. Faults are characterized by reciting improperly: too slowly, too quickly, too softly or in an incoherent manner. Interruptions may include coughing, sneezing, falling asleep, stumbling or allowing the mind to wander. Indication that one’s mind has been adequately prepared through this ritual service to the deity include twelve signs. They consist of the following: little hunger or thirst is felt, one is free of fatigue, as well as illness, and the body begins to glow and pleasant warmth is experienced. Understanding grows, and comprehension of scripture progresses, dreams are auspicious and become true. One feels no reluctance towards reciting the mantra and is instead inclined towards doing so. Finally, not only does one willingly strive towards preserving such qualities, but devotion to the patron deity becomes great (Beyer, 244). Magical powers may also indicate contemplative mastery, signaling attainment of great merit. These magical attainments may include invisibility, invincibility, youth, levitation, instant self transportation, and domination over all other things, as well as many other godly powers (Beyer, 246).
Significance
Tārā has long proven to be exceedingly popular in Tibet, and with many who practice Mahayana Buddhism the world over. There are many references to deities much like her in many different cultures, and in all parts of the world. Her unwavering compassion towards all those that are in distress makes Tārā appealing and accessible to all her devotees, no matter what social class or location one may reside in. The adaptability of Tārā as a deity to fit many circumstances, as well as rituals associated with devotion to Tārā, ensures her help and protection extends to all those in need. It is said that anywhere that suffering is experienced, Tārā’s compassionate protection may be invoked.
ReferencesISBN links support NWE through referral fees
- Beyer, Stephen. The Cult of Tara: Magic and Ritual in Tibet. Berkeley: University of California Press, 1973.
- Willson, Martin. In Praise of Tara: Songs to the Saviouress. Boston: Wisdom Publications, 1986.
