IMG_3052, originally uploaded by Fairy Basslet.
……finally (again). Well, it wasn’t as painful as I’d expected, but was mildly uncomfortable interspersed with gritted teeth owowowow moments. Actually the most painful bit was getting it wiped down at the end with an alcohol wipe. To be fair, it took far less time than me or Lee expected – apparently I have very good skin to tattoo. Not that you can tell from the photo, which was taken about 90 minutes after leaving Inka. It’s a bit of a fuzzy pic, and I’ll get some better ones done later. A big thanks to Lee and the crew at Inka, who were very professional and made me feel completely at ease. And a big thanks to Lottie who recommended Lee. I’ve started thinking about another one already……:)
For those of you who want to know what I’ve just had done, it’s the mantra to Green Tara “om tāre tuttāre ture svāhā.”
Within Tibetan Buddhism Tārā is regarded as a Boddhisattva of compassion and action. She is the female aspect of Avalokitesvara (Chenrezig) and in some origin stories she comes from his tears:
- Then at last Avalokiteshvara arrived at the summit of Marpori, the ‘Red Hill’, in Lhasa. Gazing out, he perceived that the lake on Otang, the ‘Plain of Milk’, resembled the Hell of Ceaseless Torment. Myriads of being were undergoing the agonies of boiling, burning, hunger, thirst, yet they never perished, but let forth hideous cries of anguish all the while. When Avalokiteshvara saw this, tears sprang to his eyes. A teardrop from his right eye fell to the plain and became the reverend Bhrikuti, who declared: ‘Son of your race! As you are striving for the sake of sentient beings in the Land of Snows, intercede in their suffering, and I shall be your companion in this endeavour!’ Bhrikuti was then reabsorbed into Avalokiteshvara’s right eye, and was reborn in a later life as the Nepalese princess Tritsun. A teardrop from his left eye fell upon the plain and became the reverend Tara. She also declared, ‘Son of your race! As you are striving for the sake of sentient beings in the Land of Snows, intercede in their suffering, and I shall be your companion in this endeavour!’ Tara was also reabsorbed into Avalokiteshvara’s left eye, and was reborn in a later life as the Chinese princess Kongjo (Princess Wencheng).”
Tārā is also known as a saviouress, as a heavenly deity who hears the cries of beings experiencing misery in samsara.
The Tārā figure originated not in Buddhism but in Hinduism, where she, Tārā, was one of a number of Mother Goddess figures alongside Sarasvati, Lakshmi, Parvati, and Shakti. In the 6th century C.E., during the era of the Pala Empire, Tārā was adopted into the Buddhist pantheon as an important bodhisattva figure just a few centuries after the Prajnaparamita Sutra had been introduced into what was becoming the Mahayana Buddhism of India. It would seem that the feminine principle makes its first appearance in Buddhism as the “Mother of Perfected Wisdom” and then later Tārā comes to be seen as an expression of the compassion of perfected wisdom. However, sometimes Tārā is also known as “the Mother of the Buddhas”, which usually refers to the enlightened wisdom of the Buddhas, so in approaching Buddhist deities, one learns not to impose totally strict boundaries about what one deity covers, as opposed to another deity.
They all can be seen as expressions of the play of the energies of manifested form dancing out of vast emptiness. Be that as it may, Tārā began to be associated with the motherly qualities of compassion and mercy. Undoubtedly for the common folk who were Buddhists in India of that time, Tārā was a more approachable deity. It is one thing to stare into the eyes of a deity who represents wisdom as void. It is perhaps easier to worship a goddess whose eyes look out with infinite compassion and who has a sweet smile.
Tārā then became very popular as an object of worship and was becoming an object of Tantric worship and practice by the 7th century C.E. With the movement and cross-pollination of Indian Buddhism into Tibet, the worship and practices of Tārā became incorporated into Tibetan Buddhism. Independent of whether she is classified as a deity, a Buddha or a bodhisattva, Tārā remains very popular in Tibet and Mongolia. One other reason for her popularity was that Tārā became to be known as a Buddhist deity who could be appealed to directly by lay folk without the necessity or intervention of a lama or monk. Thus, as Tārā was accepted into the ranks of Buddhist bodhisattvas, she became popular to both common folk as one to appeal to in daily life, and for monastics, as an entry way into understanding compassion and mercy as part of one’s evolving path within Buddhism.
Today, Green Tara and White Tara are probably the most popular representations of Tara. Green Tara/Khadiravani is usually associated with protection from fear and the following eight obscurations: lions (= pride), wild elephants (= delusion/ignorance), fires (= hatred and anger), snakes (= jealousy), bandits and thieves (= wrong views, including fanatical views), bondage (= avarice and miserliness), floods (= desire and attachment), and evil spirits and demons (= deluded doubts). As one of the three deities of long life, White Tara/Sarasvati is associated with longevity. White Tara counteracts illness and thereby helps to bring about a long life. She embodies the motivation that is compassion and is said to be as white and radiant as the moon.
Tārā also embodies many of the qualities of feminine principle. She is known as the Mother of Mercy and Compassion. She is the source, the female aspect of the universe, which gives birth to warmth, compassion and relief from bad karma as experienced by ordinary beings in cyclic existence. She engenders, nourishes, smiles at the vitality of creation, and has sympathy for all beings as a mother does for her children. As Green Tārā she offers succor and protection from all the unfortunate circumstances one can encounter within the samsaric world. As White Tārā she expresses maternal compassion and offers healing to beings who are hurt or wounded, either physically or psychically. As Red Tārā she teaches discriminating awareness about created phenomena, and how to turn raw desire into compassion and love. As Blue Tārā (Ekajati) she becomes a protector in the Nyingma lineage, who expresses a ferocious, wrathful, female energy whose invocation destroys all Dharmic obstacles and engenders good luck and swift spiritual awakening.
Within Tibetan Buddhism, she has 21 major forms in all, each tied to a certain color and energy. And each offers some feminine attribute, of ultimate benefit to the spiritual aspirant who asks for her assistance.
Another quality of feminine principle which she shares with the dakinis is playfulness. As John Blofeld expands upon in Bodhisattva of Compassion, Tārā is frequently depicted as a young sixteen year old girlish woman. She oftens manifests in the lives of dharma practitioners when they take themselves, or spiritual path too seriously. There are Tibetan tales in which she laughs at self-righteousness, or plays pranks on those who lack reverence for the feminine. In Magic Dance: The Display of the Self-Nature of the Five Wisdom Dakinis, Thinley Norbu explores this as “Playmind”. Applied to Tārā one could say that her playful mind can relieve ordinary minds which become rigidly serious or tightly gripped by dualistic distinctions. She takes delight in an open mind and a receptive heart then. For in this openness and receptivity her blessings can naturally unfold and her energies can quicken the aspirants spiritual development.
These qualities of feminine principle then, found an expression in Indian Mahayana Buddhism and the emerging Vajrayana of Tibet, as the many forms of Tārā, as dakinis, as Prajnaparamita, and as many other local and specialized feminine divinities. As the worship of Tārā developed, various prayers, chants and mantras became associated with her. These came out of a felt devotional need, and from her inspiration causing spiritual masters to compose and set down sadhanas, or tantric meditation practices. Two ways of approach to her began to emerge. In one common folk and lay practitioners would simply directly appeal to her to ease some of the travails of worldly life. In the second, she became a Tantric deity whose practice would be used by monks or tantric yogis in order to develop her qualities in themselves, ultimately leading through her to the source of her qualities, which are Enlightenment, Enlightened Compassion, and Enlightened Mind.
