This article was originally written for the Jamyang Buddhist Centre in London
The first thing you see when entering the left wing of the Jamyang Buddhist Center in London is a majestic, well-illuminated painting of Green Tara surrounded by the 21 Taras. At least, those would be the terms one would apply to the image if one is already somewhat familiar with Himalayan Buddhist iconography; otherwise, it would most likely seem to simply be a dignified array of multi-colored goddesses (or fairies, maybe)—something that many people that I’ve spoken to seem to be attracted by regardless of their philosophical and contemplative background.
Why would such figures be mysteriously alluring is a question that can’t be easily answered unless we first choose a specific coordinate system. Researchers of archetypes and mythology, like Carl Jung and his intellectual descendants, might try to find the universal roots of our attraction to Tara and Tara-like figures in either our shared past or in our collective unconscious.
Himalayan Buddhism, by contrast, generally attributes such attraction to our extended personal history (that transcends a specific lifetime and stretches infinitely into the past and into the future), and, more importantly, to our own basic goodness—our buddha nature that the figure of Tara so powerfully represents. Those who strongly espouse the more literal interpretations of the Buddha-nature theory (which is not viewed in the same way in the different traditions of Tibetan Buddhism) might argue that Tara attracts us because she represents the perfection that already dwells within us; others, following a more gradualist approach, would see Tara as an expression of the qualities that we possess as a potential that still needs to be cultivated: an acorn that might one day become a strong oak tree. In either case, Tara herself is both a symbolic representation of the eventual achievement and a meditational deity that serves as the path taking us to that goal. Metaphorically speaking (and borrowing an apt expression from Thomas Merton, who applied this image to Mother Mary), Tara serves as a window to something infinitely more refined and beautiful.
While there are certainly many such windows in the Indo-Tibetan tradition—many meditational deities to practice with—Tara has gradually become a particularly popular figure, most likely turning into an object of mass devotion by the 6th century CE. The reason for her popularity is expressed by her very name. In Sanskrit and some other Indic languages, “Tara” means “a star” (in fact, the English word “star” comes from the same Indo-European root); in this context, Tara is like a guiding star taking one across the ocean of samsaric suffering. When translating the Dharma into their own language, Tibetans, however, decided to ignore the obvious primary meaning and rather focused on the meaning of the root “tṝ” – “to help someone to cross”, or “to rescue”. Tara’s Tibetan name, “Drolma”, therefore literally means “The Saviouress” or “The Rescuer”, and she is seen as a presence–a field of qualities—that rescues one from temporary suffering, and, most importantly, from the causes of that suffering: one’s karma and afflictions.
From an academic point of view, the origins of Tara practice are somewhat of a mystery. Since the first Tara texts emerge in the 5th century CE, it is hard to say whether the roots lie firmly with Buddhism itself or are shared with either Brahmanism, or, perhaps, the early tantric cults of Southern India. Tara herself as a tantric goddess is present in both Buddhist and Hindu pantheons; in the latter, she is listed amongst the 10 Mahavidyas (“Great Awareness Goddesses”), and the roots of her practice, according to Robert Svoboda, seem to be strongly connected to the northern part of the Indian Subcontinent (and potentially even Tibet). While lacking solid archeological or textual evidence to support any of these theories (along with the more daring ones that potentially connect Tara to other Indo-European goddesses with similar names, like Astharta and Ishtar), we have to look at the root texts of Tara practice themselves. Those at least give us a clear understanding of how Tara practice arrived to Tibet, where it has been truly flourishing every since.
Some of the earliest mentions of Tara come from texts connected to Mañjuśrī (the embodiment of enlightened wisdom), Avalokiteśvara (the embodiment of enlightened compassion), and Amitābha (the buddha of infinite light). Appearing first as a secondary expression of Avalokiteśvara’s compassionate activity, Tara eventually becomes the primary figure for a number of her own texts, including Tara Mula Kalpa and The Tantra on the Origin of All Rites of Tara. It is in this latter text, which mostly deals with the ritual aspects of Tara practice (thus being categorised as an action tantra in the Kangyur), that we first see the seminal text known colloquially as the Twenty-One Praises to Tara (or, quite incorrectly, The Praise to the Twenty-One Taras). While translating the root text into Tibetan (which most likely happened in the 11th century), Dharma translators of the Land of Snows preserved the Sanskrit of the original verses. However, to make the meaning of the praise accessible, they also extracted the praise and translated it as another, separate text included in the Kangyur. Interestingly enough, the praise itself (unlike the text that it originated from) is classified a highest yoga tantra text: something extremely esoteric and profound, and potentially opening the doors to full awakening in one lifetime. This shows the multiplicity layers embedded into the systems of Tara practice. The same root text can serve as one of the most popular prayers, known by heart by Tibetan children and elders alike; as a part of a more ritual-oriented system of practice; and, finally, as a treasury of secret meditation instructions that can only be understood under the guidance of a highly qualified teacher.
The text of the Twenty-One Praises serves as the basis for all the iconographic depictions of the 21 forms of Tara—thus the misnomer of “Praise to the 21 Taras”. It’s important to know that the root text does not have to be seen as an homage directed towards 21 distinct forms; all the verses describe and praise Tara, in her totality, herself (and, from a certain point of view, also our own basic goodness, or true potential). However, certain lineage masters, starting with either with Nāgārjuna or with the Kashmiri pandit Suryagupta (7th century), eventually started associating each verse with a specific form of Tara that serves as the basis for one’s practice when needed. This lead to the establishment of the multiply ways of describing the 21 Taras, each with its own distinct iconography, mantras, and elaborate systems of meditation instructions. Five systems remain particularly influential today and are still transmitted and practiced: those of Suryagupta, Atīśa, Sadhana-samuccaya, Jigme Lingpa and Chokgyur Lingpa. There are more systems that are less widespread, and some of the main five have additional sub-brunches, making it all somewhat confusing and extremely diverse – “How many Taras do we really need? Am I supposed to learn and practice all of that?” Well, no, or at least not necessarily: all of the forms are understood to be the refractions of Tara’s light, and the main form that serves as the root for all this multiplicity is the famous Green Tara (Śyāmatārā).
Green Tara herself is potentially extremely interesting, both to a historian and to a practitioner. This aspect of Tara is closely associated with the “Tara of the Acacia Forest”, or Khadiravani-Tara: a form presumably coming from a visionary experience of Nāgārjuna, but deeply relevant in today’s world that seems to desperately need the environmental awareness that the Buddhist Dharma can offer. Beyond her role as a forest-abiding goddess (whose pure land is aptly and enticingly called “The Array of Turquoise Laves”), Tara has other strong connections to the natural world and its elements. For example, when appearing as a secondary figure in such practice cycles as Guhyasamāja-Tantra, Green Tara (assuming the name of Samayatara there) becomes an expression of the purified element of air/wind, representing movement; her green color becomes a symbol of fast activity. According to professor James Apple, who in this case is quoting from the 8th century translator Buddhaguhya, green is to be seen as a mixture of white, blue, and yellow, representing the unification of the pacifying, multiplying, and subjugating enlightened activities.
From Green Tara as a source – the root of all Taras associated with the 21 Praises – other Taras appear as secondary refractions. In the system of Atīśa (based, most likely, on his own unique visionary experiences and realisations) all of these have the same position with the right leg extended and left bent in; all have two arms and one face. What differs is the color of their body and the color of the vase they hold in their right hand—along with the associated activity and “activity mantra” (which is used by an initiated adept to invoke the activity of the specific aspect into our shared field of interdependence).
Here are the names, colours, and activities of the 21 Taras in Atisha’s lineage:
Sanskrit names are given on the basis of Dr. Apple’s research into Aisha’s writings, while the English names are given in accordance with the Zurkha Gyatsa transmission system. There is a slight discrepancy between the two, showing the complexity of how these teachings develop and get transmitted.
1 Name: Tārā who is Quick and Heroic
Sanskrit name: Ārya Tārā
Color: Red
2 Tārā who is Greatly Peaceful
Sitatārā
White
3 The Golden Tārā / Increasing Tārā
Kanakavarņa Tārā
Gold
4 Tārā the Victorious Crown Protuberance
Uṣṇīṣavijaya Tārā
Gold
5 Tārā Proclaiming the Sound of Hum
Hūṃsvaranādinī Tārā
Orange (or golden-red)
6 Tārā Victorious Over The Three Worlds
Trailokya-Vijaya Tārā
Dark red
7 Tārā Destroying Others’ Strength
Vādiprardaka Tārā
Black
8 Tārā Destroying Evil Spirits and Enemies
Mārasūdana Vaśittamadatārā
Dark red
9 Tārā Doing the Mudra of the Three Jewels
Ārya Tārā Triratnamudrāṅka
White
10 Tārā who is the Power That Destroys and Frightens Evil Spirits
Māralokavaśaṃkari
Red
11 Tārā Who Summons, Thus Eliminating Misfortune
Vasudhārā Tārā
Orange (Or golden-red)
12 Tārā Creating All Auspiciousness
Sarvakalyānada Tārā
Gold
13 Tārā of Blazing Fire
Hutabhug-Jvālā-Tara
Red
14 Tārā Who Frowns
Bhṛkuṭī Tārā
Black
15 Tārā Who Is Great Peace
Mahāśānti Tārā
White
16 Tārā Liberating Through the Awareness Letter HŪM
Vadyāhūṃkāradīpita Tārā
White
17 Tārā Who Makes the Three Worlds Tremble
Bhūvanatrayacālinī Tārā
Orange (red-gold)
18 Tārā Pacifying Poison and Disease
Aśeṣavișanāśani Tārā
Red
19 Tārā Dispelling Conflict and Nightmares
Duḥkhadahana Tārā
White
20 Tārā Eliminating Contagious Disease
Viṣamajvaranāśani Tārā
Orange
21 Tārā Who Fully Accomplishes All Activity
Paripuraņa Tārā
White
If one feels a natural interest towards Tara and her multiple forms (including those presented by Atīśa), what would be a good way to deepen that connection? Of course, acquiring a foundational understanding of Atīśa’s teachings—particularly on the graduated path (lamrim) and mind-training (lojong) is a great start. A lot of inspiration can also be be gained by looking into Atīśa’s own life and his compositions, presented brilliantly in James Apple’s book Illuminator of the Awakened Mind (which includes some of Atīśa’s praises to Tara).
More practical foundational instructions on Tara can be found in a wonderful article by Lama Zopa Rinpoche and in Venerable Thubten Chodron’s book How To Free Your Mind. The latter includes a commentary on the 21 Praises (albeit more associated with Suryagupta’s tradition than with Atīśa’s).
Finally, a powerful way to explore Tara’s influence is to open up to her iconography and enjoy the colours and shapes associated with enlightenment. The Himalayan Art Resources center has a wealth of Tara images and statues to explore, along with a specific section on the 21 Taras of Atīśa and a number of explanation videos.
In short, by making tiny steps towards Tara as a window to our own highest potential, we can certainly hope that our aspirations for the benefit of all beings and the healing of the world will gradually be fulfilled.
Note: Contrary to a common misconception, the famous form of White Tara with seven eyes (White Tara of the Wish-Fulfilling Wheel, popular in the Gelug, Sakya and Kagyu traditions) does not belong to the group of the 21 Taras; teachings on her practice come from a completely separate lineage that originates with the master Vāgīśvarakīrti, although it does also pass through Atīśa (amongst others).
In addition to White Tara, Green Tara and the Twenty-One Taras, there are also groupings of Three Taras, Eight Taras (associated with the dispelling of the eight great fears), Seven Taras (originating in the vision of Kyobpa Jigten Sumgon, who established the Drikung Kagyu tradition), 108 Taras, and so on. To quote Tina Fey’s Mean Girls, “The limit does not exist!”