Twenty One Forms of Tara

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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.

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.'

... Arya-Tara-sragdhara-stotra

A manifestation of the above conception is this thangka, showing Tara in her twenty-one forms. They represent the Taras invoked in "Twenty-one Verses in praise of Tara" recited by Vairochana Buddha in chapter three of the thirty-five chapter Tara Tantra. Some version of the praises begin with the root mantra of Tara (magical syllables that evoke the goddess): OM TARE TUTTARE TURE SVAHA! Then follow the twenty-one verses of praise.

The first verse is especially memorable:

"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!"

... Chapter III, 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. As the quintessence of the miraculous activities of all Buddhas, they gave him courage not to give up striving in his impossible task. The succeeding verses praise:

2) her symbolic attributes,
3) her hand gestures,
4) her holiness, as revered by Buddhas and Boddhisattvas,
6) her worship by wordly gods,
7) her destroying external threats,
8) her excellence in removing Maras and obstructions,
9) the symbols in her two hands,
10) her crown, smile, and laughter,
11) her activating the ten world gods,
12) her head ornaments,
13) her wrathful posture
14) her magic syllable HUM, which radiates light,
15) her as the ultimate reality, the truth body of the Buddhas,
16) her peaceful and wrathful mantras,
17) her shaking the three worlds,
18) her dispelling the effects of poison,
19) her eliminating conflicts and nightmares,
20) her curing diseases, and
21) her overcoming ghosts and demons.

The large central Tara is a 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 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.

Indeed in the vast expanse of Buddhist art the images of 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 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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This description by Nitin Kumar, Executive Editor, Exotic India.

Each of our thangkas comes framed in silk brocade and veil, ready to be hung in your altar.

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References:

Beer, Robert. The Encyclopedia of Tibetan Symbols and Motifs. Boston: Shambhala Publications, 1999.

Lipton, Barbara, and Ragnubs, Nima Dorjee. Treasures of Tibetan Art: Collection of the Jacques Marchais Museum of Tibetan Art. New York: Oxford University Press, 1996.

Pal, Pratapaditya. Art of Tibet. Los Angeles: The Los Angeles County Museum of Art, 1990.

Rhie, Marylin M. & Thurman, Robert A.F. Wisdom and Compassion: The Sacred Art of Tibet. London: Thames and Hudson, 1996.

Unveiling the Divine Art: Journey into the Making of Thangkas

A Thangka is a traditional Tibetan Buddhist painting that usually depicts a Buddhist Deity (Buddha or Bodhisattva), a scene, or a mandala. These paintings are considered important paraphernalia in Buddhist rituals. They are used to teach the life of the Buddha, various lamas, and Bodhisattvas to the monastic students, and are also useful in visualizing the deity while meditating. One of the most important subjects of thangkas is the Bhavacakra (the wheel of life) which depicts the Art of Enlightenment. It is believed that Thangka paintings were developed over the centuries from the murals, of which only a few can be seen in the Ajanta caves in India and the Mogao caves in Gansu Province, Tibet. Thangkas are painted on cotton or silk applique and are usually small in size. The artist of these paintings is highly trained and has a proper understanding of Buddhist philosophy, knowledge, and background to create a realistic and bona fide painting.

The process of making a thangka begins with stitching a loosely woven cotton fabric onto a wooden frame. Traditionally, the canvas was prepared by coating it with gesso, chalk, and base pigment.

After this, the outline of the form of the deity is sketched with a pencil or charcoal onto the canvas using iconographic grids. The drawing process is followed in accordance with strict guidelines laid out in Buddhist scriptures. The systematic grid helps the artist to make a geometrical and professional painting. When the drawing of the figures is finalized and adjusted, it is then outlined with black ink.

Earlier, a special paint of different colors was made by mixing powdered forms of organic (vegetable) and mineral pigments in a water-soluble adhesive. Nowadays, artists use acrylic paints instead. The colors are now applied to the sketch using the wet and dry brush techniques. One of the characteristic features of a thangka is the use of vibrant colors such as red, blue, black, green, yellow, etc.

In the final step, pure gold is coated over some parts of the thangka to increase its beauty. Due to this beautification, thangkas are much more expensive and also stand out from other ordinary paintings.

Thangka paintings are generally kept unrolled when not on display on the wall. They also come with a frame, a silken cover in front, and a textile backing to protect the painting from getting damaged. Because Thangkas are delicate in nature, they are recommended to be kept in places with no excess moisture and where there is not much exposure to sunlight. This makes them last a long time without their colors fading away. Painting a thangka is an elaborate and complex process and requires excellent skills. A skilled artist can take up to 6 months to complete a detailed thangka painting. In earlier times, thangka painters were lamas that spent many years on Buddhist studies before they painted.