Explaining Buddha of longevity – White Tara

Explaining Buddha of longevity – White Tara

is known as the female of . White , also called “the Mother of all Buddhas” is the perfect embodiment of graceful power, , and .

As with Tara’s expressions in the other five colors, the vibrations of white color express the specific energy of White Tara.

The Viability of the White Tara

In this portion, we are going to gab about the viability of the White Tara. After that, we will learn about the  of the White Tara itself. We will review her short etymological description and her spiritual power. Eventually, we will highlight her Conversion by Yeshe Lobzang Tenpa Gonpo.

White Tara Mantra

The has a number of variations, but a common one in its form is:

TARE TUTTARE TURE MAMA AYUH PUNYA PASTIME KURU .

The way to say the mantra is this:

OM TARE TUTTARE TURE MAMA AYUR PUNE GYANA PUNTIN KURU SOHA

 

Etymology of the White Tara

White Tara, also called “the Mother of all Buddhas” is the perfect embodiment of graceful power, wisdom, and purity.

Sometimes the White Tara is called “the Goddess of Seven Eyes” because, in addition to the , she is also depicted with eyes in her hands and feet.

Spritual power of White Tara

As with Tara’s expressions in the other five colors, the vibrations of white color express the specific energy of White Tara. Pure, truthful, powerful, transcending all limitations – these are just some of the attributes of color white that describe the energy of White Tara.

White Taras Conversion Yeshe Lobzang Tenpa Gonpo

White Tara is also known as drol ma Kar mo in .  It is very likely that the Yeshe Lobzang Tenpa mentioned in the inscription on the reverse is the 8th , Yeshe Lobzang Tenpa Gonpo.

White Tara is a completely Buddha and as a young , she promised that in the future after achieving complete she would always appear in the form of a female bodhisattva and goddess for the benefit of all beings and especially to protect from the eight .

In this white-colored form, she specifically performs the activity of bestowing longevity. She has Practiced in all Schools of Tara is second in popularity only to .

Earlier, we studied the Viability of the White Tara. Now we are going to learn about the of White Tara.

Iconography of the White Tara

In the iconography of the White Tara, we will learn about her posture, hand and leg gesture, and different representations of the White Tara in and statue.

Posture of White Tara

White Tara is with a hue white like an autumn moon radiant like a stainless crystal jewel that is shining with rays of light.

White Tara has one face, two hands, and three eyes with the conduct of having sixteen years of age. The right hand of White Tara is in the of supreme generosity.

The left hand of White Tara holds with the thumb and forefinger the stem of a white Utpala to the heart with the petals blossoming at the ear.

She is representing the buddhas of the three the single stem is divided into three: in the middle is a blossoming flower, the right in fruition, the left in the form of a bud.

She is adorned with various jewel ornaments having various upper garments and a lower garment of red silk.

She is seated with the legs in posture. The palms of the hands and feet each have an eye – the seven eyes of pristine awareness.

She is seated on a moon and pink seat rising from the blue lotus pond below she emanates a blue-orange nimbus and a green-pink aureola surrounded on the sides and above by pink lotus blossoms.

Earlier, we studied the Viability of the White Tara and the iconography of White Tara. Now we are going to learn about depicting deity White Tara.

Depicting Buddhist Deity White Tara Thangka

The thangka of White Tara is from Tibet. It is made in between 1800 AD to 1899 AD. White Tara is from and Buddhist lineage. The base of the is Mineral Pigment on . Currently, this painting is in the .

By depicting this thangka we will learn about the presentation of Buddhist deity White tara with different deities such as White , Red Amitayus, Goddess Ushnishavijaya, and , etc.

White Amitayus

White Amitayus is at the top center in the thangka. White Amitayus is with one face and two hands holding a longevity vase. White Amitayus is richly adorned with, and wels and fabrics.

Red Amitayus

Red Amitayus is presented at the left of the thangka. Red Amitayus is standing and holding a begging . Red Amitayus is adorned with silks and jewels.

Goddess Ushnishavijaya

Goddess Ushnishavijaya is at the right of the thangka. Goddess Ushnishavijayas is white in color with three faces and eight hands removing the obstacles to longevity.

Green Tara

Green Tara is at the bottom center of the thangka. She is emerald in color with the two hands clasped at the heart holding the stems of two blue Utpala flowers blossoming at each ear.

Green Tara is seated in a relaxed manner on a moon and lotus seat her right foot extended rests on a small lotus cushion.

Yellow Marichi and Blue Ekajati

Yellow is at the left of the thangka.  Yellow Mariachi is in appearance.

Blue is at the right of the thangka with three eyes and orange hair flowing upward in one braid slightly fierce.

Both Yellow Marichi and Blue Ekajati hold a long fly Wisk with a white yak tail and stand in a posture with the legs together above a moon and lotus seat rising sprung from the dark blue rippled, lotus pond.

Previously, we studied the Viability of the White Tara and the iconography of White Tara and depicting Buddhist deity White Tara. Now we are going to learn about the presentation of White tara with Red .

White Tara with Red Amitabha Thangka

White Tara with Red Amitabha was painted around 1800-1899 AD. The size of this painting is 74.93×53.98cm. The base of the painting is cotton and the ground mineral pigment and fine gold are used to color it. White Tara belongs to Gelug Lineage. This Masterpiece is still preserved and kept in the Rubin of .

By depicting this thangka, we will learn about the presentation of White Tara with different deities such as Avalokiteshvara, Fifth : Lobzang Gyatso, and Buddha , etc.

In the center of the thangka, there sits the lord of the realm who is called red Amitabha with the hands in the posture of . Red Amitabha is accompanied by two and two . At the top left corner of the thangka, there is a rainbow sphere is the buddha realm of .

Avalokiteshvara

Avalokiteshvara is seated in the center who is white in color with four hands accompanied by two bodhisattvas.

Yellow and white make in front of the thangka.

Fifth Dalai : Lobzang Gyatso

Great Fifth Dalai Lama, Lobzang Gyatso is holding a lotus in the right hand, and a with the left in the thangka.

Fifth Dalai Lama And Lobzang Gyatso are wearing the robes of a and a yellow Pandita hat.

Buddha Akshobhya

Buddha Akshobhya supporting is seated at upright vajra in the left hands in the thangka.

Previously, we studied the Viability of the White Tara and the iconography of White Tara, depicting Buddhist deity White Tara, and representation of White Tara with Red Amitabha. Now we are going to learn about the presentation of White tara .

White Tara with Manjushri Thangka

White Tara with Manjushri was painted around 1700-1799 AD. The size of this painting is 81.28×64.77cm. The base of the painting is cotton and the ground mineral pigment and raised gold are used to color it. White Tara with Manjushri belongs to Buddhist Lineage. This Masterpiece Thangka Art is still preserved and kept in the Rubin Museum of Art.

By depicting this thangka we are going to learn about the presentation of White Tara with different deities such as , Bodhisattva, and future Buddha , and , etc.

White Tara is peaceful in appearance with one face and two hands. She has seven eyes, three on the face, and one each on the palms of the hands and feet.

Lord of Lotus: Amitabha Buddha

is directly above the thangka. He is known as Lord of Family with the hands in the mudra of meditation.

Amitabha is seated in vajra posture above a pink lotus.

Bodhisattva and Future Buddha Maitreya

Bodhisattva and future Buddha Maitreya is presented at the lower left of the thangka. Maitreya is with the two hands held to the heart in the mudra.

Bodhisattva Manjushri

Bodhisattva Manjushri is at the right of the thangka. Bodhisattva Manjushri’s hand is performing mudra of generosity with the right hand and the left at the heart performing the mudra of blessing.

Both hands of Manjushri hold the stem of an Utpala flower blossoming at each side supporting a wisdom sword and book.

Manjushri is also seated in a relaxed posture. The thangka is Surrounding the central figures, there are 202 of Green Tara each with one face and two hands, and the right extended in the mudra of generosity and the left holding a lotus flower.

Previously, we studied the Viability of the White Tara and the iconography of White Tara, depicting Buddhist deity White Tara, representation of White Tara with Red Amitabha and  Manjushri. Now we are going to learn about the presentation of White Tara with Vajravidarana.

White Tara with Vajravidarana Thangka

White Tara with Vajravidarana was painted around 1700-1799 AD. The size of this painting is68.58×49.53cm. The base of the painting is cotton and the ground mineral pigment ais used to color it. This Masterpiece Thangka Art is still preserved and kept in the Rubin Museum of Art.

By depicting this thangka, we are going to learn about the presentation of White Tara with Slightly fierce Vajravidarana, and Tutelary deity and protector Hayagriva.

At the top center of the thangka, there is buddha Amitabha who is red in color holding a begging bowl in the lap.

Slightly fierce Vajravidarana

Slightly fierce Vajravidarana is Below in the thangka.  Slightly fierce Vajravidarana is green in color.

Slightly fierce Vajravidarana is holding a Visvavajra at the heart with the right hand and a turned upwards and held in the lap with the left. Both are seated in vajra posture.

Tutelary Deity and Protector Hayagriva

Tutelary deity and protector Hayagriva is at the bottom center of the thangka. At the bottom center of the thangka. Hayagriva is red in color with three faces and six hands.

Hayagriva is surrounded by the flames of pristine awareness.  Hayagriva is arranged in front are three skull bowls filled with wrathful .

Previously, we studied the Viability of the White Tara and the iconography of White Tara, depicting Buddhist deity White Tara, representation of White Tara with Red Amitabha and  Manjushri. and finally we learn about the representation of White Tara with Vajravidarana.