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Tantra > 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.' Arya-Tara-sragdhara-stotra
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.
This article and images supplied by
Exotic India;
suppliers of religious arts and icons.
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