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The Tantra Pages
Green Tara and White Tara
Feminist Ideals in
Buddhism
Goddess Tara, a female
Buddha and meditational deity, is arguably the most
popular goddess in the Buddhist pantheon. She is
considered to be the goddess of universal compassion who
represents virtuous and enlightened activity.
The word Tara itself is derived from the root 'tri' (to
cross), hence the implied meaning:' the one who enables
living beings to cross the Ocean of Existence and
Suffering'. Her compassion for living beings, her desire
to save them from suffering, is said to be even stronger
than a mother's love for her children.
The story of Tara's
origin, according to the Tara Tantra, recounts that aeons
ago she was born as a king's daughter. A spiritual and
compassionate princess, she regularly gave offerings and
prayers to the ordained monks and nuns. She thus
developed great merit, and the monks told her that,
because of her spiritual attainments, they would pray
that she be reborn as a man and spread Buddhist
teachings. She responded that there was no male and no
female, that nothing existed in reality, and that she
wished to remain in female form to serve other beings
until everyone reached enlightenment, hence implying the
shortfall in the monk's knowledge in presuming only male
preachers for the Buddhist religion. Thus Tara might be
considered one of the earliest feminists.
Another legend of Tara is that she was born from the
compassionate tears of Avalokiteshvara (The Buddha of
compassion): "Homage! Tara, swift, heroic! With a
glance like flashing lightning, born from a blooming
lotus sprung from the tears on the face of the Lord of
the World!"
Tara Tantra.
The above verse refers to the legend of Tara's origin.
Avalokiteshvara was looking down from his heaven on the
world of suffering beings, and he wept to see that more
and more of them were in pain. From the tears streaming
down his face two Taras were born, a peaceful white one
from the left and a fierce green one from the right. Tara
is thus also often referred to as Avalokiteshvara's
consort.
In a historical sense,
Tara is associated with the two pious and virtuous wives
of Tibet's first great religious king, Songsten
Gambo (d. 649). White Tara is associated with his
wife from imperial China, Wen Cheng, and Green Tara is
identified with Bhrkuti, his Nepalese wife.
To the Buddhists the symbolism of color is of great
import. The sadhanas (ancient manuals laying down
procedures for worship) are very particular in
stipulating the colors of the deities visualized. This
color is intended not only to unfold the nature of the
deity represented but also to indicate the functions to
be performed by that deity. Specifically colors are used
in the paintings under a definite mystic scheme, based on
the psychic experiences of the sadhaka (worshipper).
No wonder then that
her devotees visualize Tara in a myriad variety of
colors:
'Some have a vision of you (Tara) as red as the sun with
rays more brilliant and red than the lac and the
vermilion. Others see you blue like the sapphire. Some
again see you whiter than the milk churned out of the
milky ocean. Still others see you golden. Your visva-rupa
is like a crystal which changes its color with the change
of the things around it.'
The most popular of all the known forms of Tara are the
widely worshipped Green and White Taras. It is believed
that the first artists modeled Green Tara on a young
virgin, and the White Tara on a physically mature,
voluptuous woman. Thus traditionally whereas the Green
Tara is visualized as young girl having a mischievous and
playful nature, the White Tara is represented as a mature
woman, full-breasted and wise. This tradition survives to
the present times.
Green Tara:
Green Tara is Tara's most dynamic manifestation. Her
color symbolizes youthful vigor and activity. The
Buddhist Lord of karma (action), Amoghasiddhi, is also
associated with the green color, thus signifying that
they belong to the same family. This is a further
affirmation of the perception that Green Tara is a
goddess of action.
She is often depicted in a posture of ease with right leg
extended, signifying her readiness to spring into action.
The left leg is folded in the contemplative position on
the lotus pedestal, the two together thus symbolizing the
integration of wisdom and art.
Her left hand, in the gesture of granting refuge holds
the stem of a blue lotus that floats over her left
shoulder as a symbol of purity and power. With her right
hand she makes the boon-granting gesture.
On a lotus seat, standing
for realization of voidness, (You are)
the emerald-colored, one-faced, two-armed Lady In
youth's full bloom, right leg out, left
drawn in, Showing the union of wisdom and art-
homage to you! Like the outstretched branch of the
heavenly turquoise tree, Your supple right hand
makes the boon- granting gesture, Inviting the
wise to a feast of supreme accomplishments, As if
to an entertainment-homage to you! Your left hand gives
us refuge, showing the Three Jewels; It says,
"You people who see a hundred dangers, Don't
be frightened-I shall swiftly save you!"
Homage to you! Both hands signal with blue blue utpala
flowers, "Samsaric beings! Cling not to worldly
pleasures. Enter the great city of
liberation!" Flower-goads prodding us to effort,
homage to you! .......First Dalai Lama (1391-1474).
In visual arts she is shown as resembling an
exceptionally lovely human being in everything but the
color of her skin and the splendor of her ornaments. The
slender, long proportioned body of the goddess is shown
dusky olive green in color and her coloring reverberates
against the striped cushion of her throne back. The
painting technique itself is extremely refined, the
pigment flat and thin, and it does not emphasize linear
outlining except in the most subtle way. The mysterious
and intriguing nature of Green Tara is marvelously
captured in the medium of painting by the ingenious
blending of the typical iconographical setting with the
color scheme.
As for jewelry, beautiful golden, red and green jewels
adorn her. Her jewelry includes white bracelets, several
necklaces with many pendant gems, and a multi stringed,
long jewel chain that sinuously falls around her body and
over her right arm.
In a heavenly mansion shaped by the artist of the
gods, Inconceivable celestial wish-granting gems, Most
beautiful, wrought into fascinating ornaments,
Fully adorn you-homage to you!
Like an emerald mountain clothed in rainbows, Your
upper body is draped in heavenly silks, Your lovely
supple, slender waist supports A skirt of five bright
colors-homage to you! .......First Dalai Lama
(1391-1474).
The followers of Green Tara believe that her special
powers will help overcome dangers, fears, and anxieties,
and that she will grant wishes. She is also believed to
help one cross over from danger to safety or from
suffering to happiness. Her femininity imbues her with
soft and compassionate feelings, and she acts very
quickly and directly as a savioress. Representing active
compassion, she is particularly worshipped for her
ability to overcome the most difficult situations. As the
first Dalai Lama puts it, just by being called to help,
she instantaneously saves the faithful from attacks by
the following eight calamities:
1) lions and pride, 2) wild elephants and delusions, 3)
forest fires and hatred,
4) snakes and envy, 5) robbers and fanatical views,
6) prisons and avarice,
7) floods and lust, and 8) demons and doubts.
White Tara:
White Tara is often referred to as the Mother of all the
Buddhas. She represents the motherly aspect of
compassion. Her white colour indicates purity, but also
indicates that she is Truth, complete and
undifferentiated.
She has seven eyes: the two usual eyes, plus an eye in
the centre of her forehead and eyes in each of her hands
and feet. These indicate that she sees all suffering and
all cries for help in the human world using both ordinary
and psychic or extraordinary means of perception. They
thus symbolize the vigilance of her compassion.
White Tara has a lovely, young face. Her ornaments are
covered in jewels. Her silk robes and scarves are painted
in an exceptionally lively manner. Her tight fitting
garments are embossed with large, rich floral designs.
These filmy garments; bright gauzy silks fluttering from
the shoulders and a series of many hued silken skirts-
leave the slender torso and smoothly rounded breasts
uncovered in the manner of ancient India. The whole
effect is so ravishing that she might well arouse the
very passion she is frequently invoked to calm, were it
not that she inspires the kind of exalted reverence a
palace guard might be expected to feel for a young and
lovely princess entrusted to his care.
With her right hand she makes the boon granting gesture
and her left hand, holding the stem of a white lotus
flower between her thumb and fourth finger, is in the
protection position.
The elaborate lotus flower, held in the left hand is
called Utpala. It contains three blooms: the first, with
seeds, symbolizes the past Buddha Kashyapa; the second in
full flower, symbolizes the present Buddha Shakyamuni;
and the third, ready to bloom, symbolizes the future
Buddhas Maitreya. This signifies that White Tara is the
essence of all the three Buddhas of the past, the present
and the future. She sits with both legs raised and
crossed in the vajra (diamond) position and regally
displays both grace and calm.
Her incomparable beauty have inspired her worshippers to
address her thus:
"Radiant as the eternal snows in all their glory,
homage to the Youthful One with full breasts, One face
and two arms. And is filled with great bliss"
..........(Unknown)
White Tara is an emanation of Tara who is connected with
longevity. She is also the special goddess who
helps her devotees overcome obstacles, particularly
impediments to the practice of religion.
Indeed in the vast
expanse of Buddhist art the images of the two Taras with
their feminine charm and sophisticated imagery represent
a superior conception unparalleled in any other art
tradition. Open to diverse interpretations both on the
sensual and spiritual planes these two goddesses have
inspired generations of devotee artists to achieve
creative heights while adhering to the strict
iconographical cannons laid down in the ancient texts,
and in the process acquiring both spiritual merit and the
boon of the Goddess
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