Events/Artifacts
120-403: (north to south) Events/Artifacts Artifacts The Agusan image (commonly referred to in the Philippines as the Golden Tara in allusion to its supposed, but disputed, identity as an image of a Buddhist Tara ) is a 2 kg (4.4 lb), 21-karat gold statuette, found in 1917 on the banks of the Wawa River near Esperanza , Agusan del Sur , Mindanao in the Philippines , dating to
240-497: A tantric deity whose secret practices and tantric sadhanas would be used by monks and yogis in order to develop her awakened qualities in themselves, ultimately leading to Buddhahood . Another quality which Tara shares with feminine spirits (such as dakinis ) is playfulness. As John Blofeld explains in Bodhisattva of Compassion , Tārā is frequently depicted as a young sixteen-year-old girlish woman. She often manifests in
360-438: A tantric deity whose secret practices and tantric sadhanas would be used by monks and yogis in order to develop her awakened qualities in themselves, ultimately leading to Buddhahood . Another quality which Tara shares with feminine spirits (such as dakinis ) is playfulness. As John Blofeld explains in Bodhisattva of Compassion , Tārā is frequently depicted as a young sixteen-year-old girlish woman. She often manifests in
480-415: A Tārā mantra is termed a "vidyā" (the proper term for a mantra of a female deity). The main vidyā mantra of Tārā is: Oṃ tāre tuttāre ture svāhā. This is the most popularly recited mantra of the deity and is her root (mula) mantra. Tāre tuttāre ture is in the vocative case . Tāre is the basic name of the deity ("O Tara"). Tuttāre (prefixed by ud-) refers to Tara as "the one who helps [beings] to cross"
600-415: A Tārā mantra is termed a "vidyā" (the proper term for a mantra of a female deity). The main vidyā mantra of Tārā is: Oṃ tāre tuttāre ture svāhā. This is the most popularly recited mantra of the deity and is her root (mula) mantra. Tāre tuttāre ture is in the vocative case . Tāre is the basic name of the deity ("O Tara"). Tuttāre (prefixed by ud-) refers to Tara as "the one who helps [beings] to cross"
720-678: A bodhisattva, Tārā remains very popular in Tibet (and Tibetan communities in exile in Northern India), Mongolia , Nepal , Bhutan , Sikkim and is worshiped in many Buddhist communities throughout the world (though in East Asian Buddhism , Guanyin is the most popular female deity). In Tibet, Green Tārā was also considered to have manifested as the Nepalese Princess ( Bhrikuti ), and White Tārā's manifestation as
840-425: A bodhisattva, Tārā remains very popular in Tibet (and Tibetan communities in exile in Northern India), Mongolia , Nepal , Bhutan , Sikkim and is worshiped in many Buddhist communities throughout the world (though in East Asian Buddhism , Guanyin is the most popular female deity). In Tibet, Green Tārā was also considered to have manifested as the Nepalese Princess ( Bhrikuti ), and White Tārā's manifestation as
960-698: A form of the goddess Durga . Tārā is worshiped both in Buddhism as well as in Shaktism (Hinduism) as one of the ten Mahavidyas . According to Beyer, the enlightened feminine makes its first appearance in Mahayana Buddhism as Prajñāpāramitā Devi , the personified Perfection of Wisdom , who is also called mother of Buddhas. Tara eventually came to be considered the "Mother of all Buddhas" by Indian tantric Buddhists, taking on this epithet from Prajñaparamita. The term mother of Buddhas usually refers to
1080-520: A form of the goddess Durga . Tārā is worshiped both in Buddhism as well as in Shaktism (Hinduism) as one of the ten Mahavidyas . According to Beyer, the enlightened feminine makes its first appearance in Mahayana Buddhism as Prajñāpāramitā Devi , the personified Perfection of Wisdom , who is also called mother of Buddhas. Tara eventually came to be considered the "Mother of all Buddhas" by Indian tantric Buddhists, taking on this epithet from Prajñaparamita. The term mother of Buddhas usually refers to
1200-418: A male to progress further. At this point she lets the monks know in no uncertain terms that it is only "weak minded worldlings" who see gender as a barrier to attaining enlightenment . She sadly notes there have been few who wish to work for the welfare of sentient beings in a female form, though. Therefore, she resolves to always be reborn as a female bodhisattva, until samsara is no more. She then stays in
1320-418: A male to progress further. At this point she lets the monks know in no uncertain terms that it is only "weak minded worldlings" who see gender as a barrier to attaining enlightenment . She sadly notes there have been few who wish to work for the welfare of sentient beings in a female form, though. Therefore, she resolves to always be reborn as a female bodhisattva, until samsara is no more. She then stays in
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#17327723275861440-436: A mother does for her children. Tārā is most often shown with the blue lotus or night lotus ( utpala ), which releases its fragrance with the appearance of the moon and therefore Tārā is also associated with the moon and night. In general, Tārā is especially seen as a savior who provides salvation and protection from the eight fears (aṣṭabhaya) or eight dangers (aṣṭaghora). This is a common theme in her iconography and she
1560-436: A mother does for her children. Tārā is most often shown with the blue lotus or night lotus ( utpala ), which releases its fragrance with the appearance of the moon and therefore Tārā is also associated with the moon and night. In general, Tārā is especially seen as a savior who provides salvation and protection from the eight fears (aṣṭabhaya) or eight dangers (aṣṭaghora). This is a common theme in her iconography and she
1680-455: A palace in a state of meditation for some ten million years, and the power of this practice releases tens of millions of beings from suffering. As a result of this, Tonyo Drupa tells her she will henceforth manifest supreme bodhi as the Goddess Tārā in many world systems to come. A similar story is told by the 14th Dalai Lama : There is a true feminist movement in Buddhism that relates to
1800-401: A palace in a state of meditation for some ten million years, and the power of this practice releases tens of millions of beings from suffering. As a result of this, Tonyo Drupa tells her she will henceforth manifest supreme bodhi as the Goddess Tārā in many world systems to come. A similar story is told by the 14th Dalai Lama : There is a true feminist movement in Buddhism that relates to
1920-404: A receptive heart then. For in this openness and receptivity her blessings can naturally unfold and her energies can quicken the aspirants spiritual development. Tārā as a focus for tantric deity yoga can be traced back to the time period of Padmasambhava . There is a Red Tārā practice which was given by Padmasambhava to Yeshe Tsogyal . He asked that she hide it as a treasure . It was not until
2040-404: A receptive heart then. For in this openness and receptivity her blessings can naturally unfold and her energies can quicken the aspirants spiritual development. Tārā as a focus for tantric deity yoga can be traced back to the time period of Padmasambhava . There is a Red Tārā practice which was given by Padmasambhava to Yeshe Tsogyal . He asked that she hide it as a treasure . It was not until
2160-526: A tantric practice quickly spread from around the 7th century CE onwards, and remains an important part of Vajrayana Buddhism to this day. The practices themselves usually present Tārā as a tutelary deity (thug dam, yidam ) which the practitioners sees as being a latent aspect of one's mind, or a manifestation in a visible form of a quality stemming from Buddha Jnana . As John Blofeld puts it in The Tantric Mysticism of Tibet : The function of
2280-454: A tantric practice quickly spread from around the 7th century CE onwards, and remains an important part of Vajrayana Buddhism to this day. The practices themselves usually present Tārā as a tutelary deity (thug dam, yidam ) which the practitioners sees as being a latent aspect of one's mind, or a manifestation in a visible form of a quality stemming from Buddha Jnana . As John Blofeld puts it in The Tantric Mysticism of Tibet : The function of
2400-497: A transcendent awakened wisdom, though it also echoes the ancient Indian motif of the Mother Goddess ( Devi Mata). Tārā became a very popular Vajrayana deity with the rise of tantric Buddhism in north India. Tārā worship also spread to other parts of India, as well as to Nepal , Sri Lanka and Indonesia , where depictions of the deity have been discovered by archeologists. With the movement of Indian Buddhism into Tibet,
2520-434: A transcendent awakened wisdom, though it also echoes the ancient Indian motif of the Mother Goddess ( Devi Mata). Tārā became a very popular Vajrayana deity with the rise of tantric Buddhism in north India. Tārā worship also spread to other parts of India, as well as to Nepal , Sri Lanka and Indonesia , where depictions of the deity have been discovered by archeologists. With the movement of Indian Buddhism into Tibet,
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#17327723275862640-429: A woman. Tārā, then, embodies certain ideals which make her attractive to women practitioners, and her emergence as a Bodhisattva can be seen as a part of Mahayana Buddhism's reaching out to women, and becoming more inclusive even in 6th-century CE India . Tārā's name literally means "star" or "planet", and therefore she is associated with navigation and travel both literally and metaphorically as spiritual crossing to
2760-429: A woman. Tārā, then, embodies certain ideals which make her attractive to women practitioners, and her emergence as a Bodhisattva can be seen as a part of Mahayana Buddhism's reaching out to women, and becoming more inclusive even in 6th-century CE India . Tārā's name literally means "star" or "planet", and therefore she is associated with navigation and travel both literally and metaphorically as spiritual crossing to
2880-596: A young princess who lives in a different world system, millions of years in the past. Her name is Jñanachandra or Yeshe Dawa, which means "Moon of Primordial Awareness". For quite a number of aeons she makes offerings to the Buddha of that world system, whose name was Tonyo Drupa. She receives special instruction from him concerning bodhicitta —the infinitely compassionate mental state of a bodhisattva. After doing this, some monks approach her and suggest that because of her level of attainment she should next pray to be reborn as
3000-543: A young princess who lives in a different world system, millions of years in the past. Her name is Jñanachandra or Yeshe Dawa, which means "Moon of Primordial Awareness". For quite a number of aeons she makes offerings to the Buddha of that world system, whose name was Tonyo Drupa. She receives special instruction from him concerning bodhicitta —the infinitely compassionate mental state of a bodhisattva. After doing this, some monks approach her and suggest that because of her level of attainment she should next pray to be reborn as
3120-614: Is Tārā scriptures used as Tantric sadhanas. For example, a Tārā sadhana was revealed to Tilopa (988–1069 CE), the human father of the Karma Kagyu . Atisa , the great translator and founder of the Kadampa school of Tibetan Buddhism, was a devotee of Tārā. He composed a praise to her, and three Tārā Sadhanas. Martin Willson's work also contains charts which show origins of her tantras in various lineages, but suffice to say that Tārā as
3240-446: Is Tārā scriptures used as Tantric sadhanas. For example, a Tārā sadhana was revealed to Tilopa (988–1069 CE), the human father of the Karma Kagyu . Atisa , the great translator and founder of the Kadampa school of Tibetan Buddhism, was a devotee of Tārā. He composed a praise to her, and three Tārā Sadhanas. Martin Willson's work also contains charts which show origins of her tantras in various lineages, but suffice to say that Tārā as
3360-576: Is a Sanskrit hymn which contains a set of 108 names and epithets for the deity. Buddhist studies scholars generally agree that the worship of Tara began growing in popularity in India during the 6th century. Tārā came to be seen as an expression of the compassion of perfected wisdom only later, with her earliest textual reference being the Mañjuśrī-mūla-kalpa ( c. 5th –8th centuries CE). The earliest, solidly identifiable image of Tārā
3480-464: Is a Sanskrit hymn which contains a set of 108 names and epithets for the deity. Buddhist studies scholars generally agree that the worship of Tara began growing in popularity in India during the 6th century. Tārā came to be seen as an expression of the compassion of perfected wisdom only later, with her earliest textual reference being the Mañjuśrī-mūla-kalpa ( c. 5th –8th centuries CE). The earliest, solidly identifiable image of Tārā
3600-618: Is an important female Buddha in Buddhism , especially revered in Vajrayana Buddhism and Mahayana Buddhism . She may appear as a female bodhisattva in Mahayana Buddhism. In Vajrayana Buddhism, Green Tara is a female Buddha who is a consort of Amoghasiddhi Buddha . Tārā is also known as a saviouress who hears the cries of beings in saṃsāra and saves them from worldly and spiritual danger. In Vajrayana, she
3720-427: Is an important female Buddha in Buddhism , especially revered in Vajrayana Buddhism and Mahayana Buddhism . She may appear as a female bodhisattva in Mahayana Buddhism. In Vajrayana Buddhism, Green Tara is a female Buddha who is a consort of Amoghasiddhi Buddha . Tārā is also known as a saviouress who hears the cries of beings in saṃsāra and saves them from worldly and spiritual danger. In Vajrayana, she
Agusan image - Misplaced Pages Continue
3840-655: Is but a singular part of a larger set of offering deities associated with the Diamond Realm mandala, the whereabouts of which remains unknown and are most likely lost in time. Although study of the relationship between the Agusan Vajralasya and the Nganjuk offering goddesses has been overlooked, it is clear that the Agusan image belongs to the same genre. One of the factors that makes the identification of
3960-932: Is certainly the Praise to Tara in Twenty One Verses (Namastāraikaviṃśatistotra) which is found in numerous sources, including in the Tara Tantra (Tohoku no. 726), which calls the prayer a dhāraṇī . This prayer is recited daily by many monastics and laypersons of the Himalayan Vajrayana traditions. There are numerous commentaries to this praise, including three commentaries attributed to Sūryagupta. Tara (Buddhism) Samding Dorje Phagmo Tara ( Sanskrit : तारा , tārā ; Standard Tibetan : སྒྲོལ་མ , dölma ), Ārya Tārā (Noble Tara), also known as Jetsün Dölma (Tibetan: rje btsun sgrol ma, meaning: "Venerable Mother of Liberation"),
4080-415: Is chanted to invoke Tārā's protection. In Tibetan Buddhism, each of these outer dangers is also associated with an inner psychological meaning. As such, lions represent pride, wild elephants represent delusion, fires represent anger, snakes represent jealousy, bandits represent wrong views, bondage represent avarice, floods represent desire and attachment, and evil spirits and demons represent doubts. With
4200-415: Is chanted to invoke Tārā's protection. In Tibetan Buddhism, each of these outer dangers is also associated with an inner psychological meaning. As such, lions represent pride, wild elephants represent delusion, fires represent anger, snakes represent jealousy, bandits represent wrong views, bondage represent avarice, floods represent desire and attachment, and evil spirits and demons represent doubts. With
4320-687: Is considered to be a Buddha , and the Tārā Tantra describes her as "a mother who gives birth to the buddhas of the three times" who is also "beyond saṃsāra and nirvāṇa ." She is one of the most important female deities in Vajrayana and is found in sources like the Mañjuśrīmūlakalpa , and the Guhyasamāja Tantra . Key Indic Vajrayana texts which focus on Tārā include the Tantra Which
4440-400: Is considered to be a Buddha , and the Tārā Tantra describes her as "a mother who gives birth to the buddhas of the three times" who is also "beyond saṃsāra and nirvāṇa ." She is one of the most important female deities in Vajrayana and is found in sources like the Mañjuśrīmūlakalpa , and the Guhyasamāja Tantra . Key Indic Vajrayana texts which focus on Tārā include the Tantra Which
4560-423: Is further associated with longevity, countering illness, and purification. Red Tārā meanwhile is associated with power, controlling and influencing others as well as with the transformation of desire into compassion. The manifestation of Blue Tārā ( Ekajati ) is a ferocious female protector whose invocation destroys all obstacles. Tārā is also a forest goddess, particularly in her form as Khadiravani , "dweller in
4680-423: Is further associated with longevity, countering illness, and purification. Red Tārā meanwhile is associated with power, controlling and influencing others as well as with the transformation of desire into compassion. The manifestation of Blue Tārā ( Ekajati ) is a ferocious female protector whose invocation destroys all obstacles. Tārā is also a forest goddess, particularly in her form as Khadiravani , "dweller in
4800-501: Is known as Jetsun Drölma ( རྗེ་བརྩུན་སྒྲོལ་མ།།, སྒྲོལ་མ , Wylie: rje btsun sgrol ba ), meaning "Venerable Saviour" which is derived from the Tibetan verb sgrol ba meaning "to save, rescue, liberate; to carry, transport, or cross; and to expel or drive away [evil]". The name Tārā may also mean "star" or "planet" (since they are celestial bodies which cross the sky and are thus literally "crossers"). In East Asian Buddhism she
4920-446: Is known as Jetsun Drölma ( རྗེ་བརྩུན་སྒྲོལ་མ།།, སྒྲོལ་མ , Wylie: rje btsun sgrol ba ), meaning "Venerable Saviour" which is derived from the Tibetan verb sgrol ba meaning "to save, rescue, liberate; to carry, transport, or cross; and to expel or drive away [evil]". The name Tārā may also mean "star" or "planet" (since they are celestial bodies which cross the sky and are thus literally "crossers"). In East Asian Buddhism she
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5040-423: Is known as 多羅菩薩 ( Pinyin : Duōluó Púsà ), with Púsà indicating bodhisattva status. In Japanese she is 多羅菩薩 たらぼさつ Tara Bosatsu. The name means "Bodhisattva who catches many" or "Bodhisattva who collects numerous [sentient beings]", derived from the characters : 羅, "to catch, gather, collect, sift," and 多 "many; much; a lot of; numerous". The Tārāṣṭottaraśatanāmāvalī , "108 Names of [Divine Personage] Tara",
5160-423: Is known as 多羅菩薩 ( Pinyin : Duōluó Púsà ), with Púsà indicating bodhisattva status. In Japanese she is 多羅菩薩 たらぼさつ Tara Bosatsu. The name means "Bodhisattva who catches many" or "Bodhisattva who collects numerous [sentient beings]", derived from the characters : 羅, "to catch, gather, collect, sift," and 多 "many; much; a lot of; numerous". The Tārāṣṭottaraśatanāmāvalī , "108 Names of [Divine Personage] Tara",
5280-647: Is most likely that which is still found today at cave 6 within the rock-cut Buddhist monastic complex of the Ellora Caves in Maharashtra ( c. 7th century CE ). Her worship was well established by the onset of the Pala Empire in Eastern India (8th century CE). The origin of Tārā is unclear and remains a source of inquiry among scholars. Mallar Ghosh believes her to have originated as
5400-407: Is most likely that which is still found today at cave 6 within the rock-cut Buddhist monastic complex of the Ellora Caves in Maharashtra ( c. 7th century CE ). Her worship was well established by the onset of the Pala Empire in Eastern India (8th century CE). The origin of Tārā is unclear and remains a source of inquiry among scholars. Mallar Ghosh believes her to have originated as
5520-420: Is one of the most popular deities which are appealed to by laypersons and monastics alike for aid. Tara's main form is depicted as dark green in color, which is associated with awakened activity. In Himalayan Buddhist iconography, each color is typically associated with a specific kind of activity (for example white is pacification and red is power). Because dark green is seen as a combination of all other colors,
5640-420: Is one of the most popular deities which are appealed to by laypersons and monastics alike for aid. Tara's main form is depicted as dark green in color, which is associated with awakened activity. In Himalayan Buddhist iconography, each color is typically associated with a specific kind of activity (for example white is pacification and red is power). Because dark green is seen as a combination of all other colors,
5760-634: Is one of the most popular systems in Tibetan Buddhism. The main source for this system is Atiśa Dīpaṃkaraśrījñāna’s (982–1054 CE) Sādhana of the Twenty-One Tārās ( sgrol ma nyi shu rtsa gcig gi sgrub thabs ). Thus, in Atiśa's tradition, the mantra of Swift and Heroic Tārā (used for subduing enemies and hindrances) is Oṃ tāre tuttāre ture vāśaṃ kuru svāhā, the mantra of White Tārā (for healing and longevity): Oṃ tāre tuttāre ture śāntiṃ kuru svāhā and
5880-460: Is one of the most popular systems in Tibetan Buddhism. The main source for this system is Atiśa Dīpaṃkaraśrījñāna’s (982–1054 CE) Sādhana of the Twenty-One Tārās ( sgrol ma nyi shu rtsa gcig gi sgrub thabs ). Thus, in Atiśa's tradition, the mantra of Swift and Heroic Tārā (used for subduing enemies and hindrances) is Oṃ tāre tuttāre ture vāśaṃ kuru svāhā, the mantra of White Tārā (for healing and longevity): Oṃ tāre tuttāre ture śāntiṃ kuru svāhā and
6000-560: Is seen as a national treasure of the country, unreported during the time of its discovery, and sold to Americans during a period of national financial difficulty leading to the inability of the Philippine government to purchase the artifact when it was auctioned. Scholars have argued that if the reason the Field Museum took the artifact was due to fear of it may have been melted down, then the museum should return it, or at least allow
6120-478: Is sometimes depicted in a specific iconographical style called "Tara who protects from the eight dangers" (Tārāṣṭaghoratāraṇī). According to The Noble Sūtra “Tārā Who Protects from the Eight Dangers” (* Āryatārāṣṭaghoratāraṇīsūtra ), the eight dangers (aṣṭaghora) are: lions, elephants, fire, snakes, robbers, waters, infectious diseases, and demons. This sutra also contains an incantation ( dharani ) which
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#17327723275866240-415: Is sometimes depicted in a specific iconographical style called "Tara who protects from the eight dangers" (Tārāṣṭaghoratāraṇī). According to The Noble Sūtra “Tārā Who Protects from the Eight Dangers” (* Āryatārāṣṭaghoratāraṇīsūtra ), the eight dangers (aṣṭaghora) are: lions, elephants, fire, snakes, robbers, waters, infectious diseases, and demons. This sutra also contains an incantation ( dharani ) which
6360-983: Is the Source for All the Functions of Tārā, Mother of All the Tathagatas (Skt. Sarvatathāgatamātṛtārāviśvakarmabhavanāmatantra ) and Tārā’s Fundamental Ritual Text ( Tārāmūlakalpa ). Both Green and White Tārā remain popular meditation deities or yidams in Tibetan Buddhism , and Tara is also revered in Newar Buddhism . Tārā is considered to have many forms or emanations, while Green Tara emanates twenty-one Tārās , each with different attributes—colors, implements, and activities such as pacifying ( śānti ), increasing ( pauṣṭika ), enthralling ( vaśīkaraṇa ), and wrathful ( abhicāra ). The Green Tara (or "blue-green", Skt. Samayatara or śyāmatārā ) remains
6480-685: Is the Source for All the Functions of Tārā, Mother of All the Tathagatas (Skt. Sarvatathāgatamātṛtārāviśvakarmabhavanāmatantra ) and Tārā’s Fundamental Ritual Text ( Tārāmūlakalpa ). Both Green and White Tārā remain popular meditation deities or yidams in Tibetan Buddhism , and Tara is also revered in Newar Buddhism . Tārā is considered to have many forms or emanations, while Green Tara emanates twenty-one Tārās , each with different attributes—colors, implements, and activities such as pacifying ( śānti ), increasing ( pauṣṭika ), enthralling ( vaśīkaraṇa ), and wrathful ( abhicāra ). The Green Tara (or "blue-green", Skt. Samayatara or śyāmatārā ) remains
6600-471: Is tāṃ. This seed syllable is often visualized in Tara sadhanas (meditative rites. spiritual practices). This seed syllable may also appear in longer Tārā mantras. For example, there is a common Red Tārā mantra which goes: Oṃ tāre tāṃ svāhā. Some traditions also contain a mantra for each of the twenty one Tārās, which are used to invoke a specific activity of Tara, like Atiśa's lineage of Tara practice, which
6720-420: Is tāṃ. This seed syllable is often visualized in Tara sadhanas (meditative rites. spiritual practices). This seed syllable may also appear in longer Tārā mantras. For example, there is a common Red Tārā mantra which goes: Oṃ tāre tāṃ svāhā. Some traditions also contain a mantra for each of the twenty one Tārās, which are used to invoke a specific activity of Tara, like Atiśa's lineage of Tara practice, which
6840-624: The Ateneo de Manila Museum in the early 1930s) is also questionable, since John Carroll, who examined a photograph of the Cebu image, believed that it is an " Avalokitesvara , not a Siva". Francisco, on the basis of the re-study of the gold statue, believed that it represents a Buddhist Tara . It seems likely that the image is a goddess of the Buddhist pantheon, in the Mahayana group. It's related to
6960-584: The Majapahit Empire. Natives back then were not converted into Hinduism, rather, they absorbed traditions in Hinduism while retaining their own indigenous Anitist religions . This golden Agusan image seems to be modelled after — or copied — the Nganjuk bronze images of early Majapahit period. A study of this image was made by F. D. K. Bosch, of Batavia, in 1920, who came to the conclusion that it
7080-820: The National Museum of the Philippines , attempted to convince the American colonial government in the Philippines to purchase the Agusan image for the National Museum of the Philippines in Manila. However, the government failed to purchase the artifact due to lack of funds. Ownership next passed to the Agusan Coconut Company to whom Blas Baklagon owed a debt. News of its existence eventually reached important people such as Louise Wood, whose husband Leonard Wood served as American governor-general in
7200-468: The Tibetan culture as oṃ tāre tu tāre ture soha . The literal translation would be "Oṃ O Tārā, I pray O Tārā, O Swift One, So Be It!" Tārā ( Devanagari : तारा) is a feminine noun derived from the root √tṝ , "to cross." It is causative , and as such means "to cause to cross," i.e., "to rescue." This is why the name is sometimes translated as "savioress" or "rescuer". For example, in Tibetan, she
7320-414: The Tibetan culture as oṃ tāre tu tāre ture soha . The literal translation would be "Oṃ O Tārā, I pray O Tārā, O Swift One, So Be It!" Tārā ( Devanagari : तारा) is a feminine noun derived from the root √tṝ , "to cross." It is causative , and as such means "to cause to cross," i.e., "to rescue." This is why the name is sometimes translated as "savioress" or "rescuer". For example, in Tibetan, she
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#17327723275867440-630: The "other side" of the ocean of existence (enlightenment). Hence she is known literally as "she who saves" in Tibetan. In the 108 Names of the Holy Tara , Tara is "Leader of the caravans ..... who showeth the way to those who have lost it" and she is named as Dhruva , the Sanskrit name for the North Star . Due to her association with navigation and travel, she is thus popular as a savior and protector from danger. In modern Tibetan Buddhism , Tārā
7560-459: The "other side" of the ocean of existence (enlightenment). Hence she is known literally as "she who saves" in Tibetan. In the 108 Names of the Holy Tara , Tara is "Leader of the caravans ..... who showeth the way to those who have lost it" and she is named as Dhruva , the Sanskrit name for the North Star . Due to her association with navigation and travel, she is thus popular as a savior and protector from danger. In modern Tibetan Buddhism , Tārā
7680-552: The 20th century, that a great Nyingma lama, Apong Terton rediscovered it. It is said that this lama was reborn as Sakya Trizin , present head of the Sakyapa sect. A monk who had known Apong Terton succeeded in retransmitting it to Sakya Trizin, and the same monk also gave it to Chagdud Tulku Rinpoche , who released it to his western students. Martin Willson in In Praise of Tārā traces many different lineages of Tārā Tantras, that
7800-442: The 20th century, that a great Nyingma lama, Apong Terton rediscovered it. It is said that this lama was reborn as Sakya Trizin , present head of the Sakyapa sect. A monk who had known Apong Terton succeeded in retransmitting it to Sakya Trizin, and the same monk also gave it to Chagdud Tulku Rinpoche , who released it to his western students. Martin Willson in In Praise of Tārā traces many different lineages of Tārā Tantras, that
7920-519: The 9th–10th centuries. The figure, approximately 178 mm (7.0 in) in height, is of a female Hindu or Buddhist deity, seated cross-legged and wearing a richly-adorned headdress and other ornaments on various parts of the body. It is now on display in the Field Museum of Natural History in Chicago . Since its discovery, the identity of the goddess represented by the gold statuette has been
8040-463: The Chinese princess Kongjo ( Princess Wencheng ). Tārā has many origin stories which explain her origin as a bodhisattva . According to one story, Tārā arose from Avalokiteshvara's compassionate tears when he wept on seeing all the suffering of all the beings in samsara . His tears turned into a lotus, out of which Tārā arose. The Indian master Sūryagupta explains this myth as follows: What
8160-408: The Chinese princess Kongjo ( Princess Wencheng ). Tārā has many origin stories which explain her origin as a bodhisattva . According to one story, Tārā arose from Avalokiteshvara's compassionate tears when he wept on seeing all the suffering of all the beings in samsara . His tears turned into a lotus, out of which Tārā arose. The Indian master Sūryagupta explains this myth as follows: What
8280-669: The Diamond Realm Mandala of Tantric Buddhism are elaborate diagrams that represent the cosmos in a metaphorical or symbolic manner. Mandalas can be represented as two-dimensional (either temporarily drawn on flat surfaces, painted on cloth, or etched on metal plates), as three-dimensional sculptural tableaux, or as large architectural constructions like the Borobudur in Central Java . Three-dimensional mandalas are thought to have been used for sacred rituals involving
8400-484: The Dutch scholar F. D. K. Bosch; however, it was ignored at that time because no illustrations of the bronze figurines were presented. Recent scholarship is now re-evaluating the relationship between the Agusan golden image and the Nganjuk bronze deities as they are believed to have been made around the same time (10th–11th centuries). Identification of the gold figurine with the offering goddess Vajralāsyā also implies that it
8520-648: The Khadira forest" and is generally associated with plant life, flowers, acacia (khadira) trees and the wind. Because of her association with nature and plants, Tārā is also known as a healing goddess (especially as White Tārā) and as a goddess of nurturing quality and fertility. Her pure land , Paradise Arrayed in Turquoise Petals, in Mount Potalaka (Avalokiteshvara's Pure Land) is described as "Covered with manifold trees and creepers, resounding with
8640-463: The Khadira forest" and is generally associated with plant life, flowers, acacia (khadira) trees and the wind. Because of her association with nature and plants, Tārā is also known as a healing goddess (especially as White Tārā) and as a goddess of nurturing quality and fertility. Her pure land , Paradise Arrayed in Turquoise Petals, in Mount Potalaka (Avalokiteshvara's Pure Land) is described as "Covered with manifold trees and creepers, resounding with
8760-468: The Philippines to purchase back the artifact since the scenario that involves the image being melted down for its gold is now unlikely. Also mentioned is how the artifact was bought by an American museum during a time when the Philippines was in financial duress and under the colonial government of America. One of the major advocates for the return of the Agusan image is former Senator Aquilino Pimentel Jr. , who made his last privilege speech specifically for
8880-422: The Philippines' right to claim the artifact. The scholars, in partnership with the government, were tasked to pursue the Philippine claim on the image. Tara (Buddhism) Samding Dorje Phagmo Tara ( Sanskrit : तारा , tārā ; Standard Tibetan : སྒྲོལ་མ , dölma ), Ārya Tārā (Noble Tara), also known as Jetsün Dölma (Tibetan: rje btsun sgrol ma, meaning: "Venerable Mother of Liberation"),
9000-482: The Philippines. Fearing that the image might be melted down for its value in gold, Mrs. Wood conducted a fundraising campaign to collect funds for the purchase of the gold artifact. She enlisted the help of Fay-Cooper Cole, the curator of Chicago Field Museum 's Southeast Asian department, together with Shaler Matthews, a professor at the University of Chicago, for the fundraising campaign. Their efforts paid off when
9120-613: The Yidam is one of the profound mysteries of the Vajrayana...Especially during the first years of practice the Yidam is of immense importance. Yidam is the Tibetan rendering of the Sanskrit word "Iṣṭadeva"—the in-dwelling deity; but, where the Hindus take the Iṣṭadeva for an actual deity who has been invited to dwell in the devotee's heart, the Yidams of Tantric Buddhism are in fact the emanations of
9240-404: The Yidam is one of the profound mysteries of the Vajrayana...Especially during the first years of practice the Yidam is of immense importance. Yidam is the Tibetan rendering of the Sanskrit word "Iṣṭadeva"—the in-dwelling deity; but, where the Hindus take the Iṣṭadeva for an actual deity who has been invited to dwell in the devotee's heart, the Yidams of Tantric Buddhism are in fact the emanations of
9360-664: The adept's own mind. Or are they? To some extent they seem to belong to that order of phenomena which in Jungian terms are called archetypes and are therefore the common property of the entire human race. Even among Tantric Buddhists, there may be a division of opinion as to how far the Yidams are the creations of individual minds. What is quite certain is that they are not independently existing gods and goddesses; and yet, paradoxically, there are many occasions when they must be so regarded. The various systems of Vajrayana Tārā practice contain numerous mantras for Tara. Technically speaking,
9480-609: The adept's own mind. Or are they? To some extent they seem to belong to that order of phenomena which in Jungian terms are called archetypes and are therefore the common property of the entire human race. Even among Tantric Buddhists, there may be a division of opinion as to how far the Yidams are the creations of individual minds. What is quite certain is that they are not independently existing gods and goddesses; and yet, paradoxically, there are many occasions when they must be so regarded. The various systems of Vajrayana Tārā practice contain numerous mantras for Tara. Technically speaking,
9600-527: The banks of the Wawa River near Esperanza, Agusan del Sur . She kept the artifact as a manika (doll) until it was acquired by the then Agusan Deputy Governor Blas Baklagon, after which it gained the name Buwawan ni Baklagon (Gold of Baklagon). However, according to Constancia Guiral, the granddaughter of the discoverer of the gold image, her grandmother named Belay Campos kept the item as a manika (doll) and later placed it on an altar for worship until it
9720-481: The blank here, depending on what activity is required, such as grahān (evil spirits), vighnān (hindering demons), vyādhīn (diseases), upadravān (injuries), akālamṛtyūn (untimely deaths), duḥsvapnān (bad dreams), cittākulāni (confusions), śatrūn (enemies), bhayopadravān (terrors and injuries), duṣkṛtāni (evil deeds). Thus, for example, if one wanted to pacify evil spirits, one could recite: Oṃ tāre tuttāre ture sarva grahān śāntiṃkuru svāhā. Other appendixes may be added to
9840-481: The blank here, depending on what activity is required, such as grahān (evil spirits), vighnān (hindering demons), vyādhīn (diseases), upadravān (injuries), akālamṛtyūn (untimely deaths), duḥsvapnān (bad dreams), cittākulāni (confusions), śatrūn (enemies), bhayopadravān (terrors and injuries), duṣkṛtāni (evil deeds). Thus, for example, if one wanted to pacify evil spirits, one could recite: Oṃ tāre tuttāre ture sarva grahān śāntiṃkuru svāhā. Other appendixes may be added to
9960-540: The concept of a female Boddhisattva, and at the same time the counterpart of the Hindu goddess ( Sakti ), as a Tara (or wife of a Buddhist god), which is a peculiar development of Buddhism in Southeast Asia. Another proposed identity of the Agusan image is the offering goddess Vajralāsyā, one of the four female deities located in the inner circle of a mandala called the Diamond Realm (Vajradhātu). Mandalas like
10080-426: The development of esoteric or tantric Buddhism , two main ways of approaching Tara developed. In one, common folk and lay practitioners continued to directly appeal to her for protection and aid in worldly affairs, often chanting prayers, dharanis , or mantras to her and doing puja (worship rites). Tara's mantra and her twenty one verses of praise are widely learned and chanted by Tibetan laypersons. Tara also became
10200-426: The development of esoteric or tantric Buddhism , two main ways of approaching Tara developed. In one, common folk and lay practitioners continued to directly appeal to her for protection and aid in worldly affairs, often chanting prayers, dharanis , or mantras to her and doing puja (worship rites). Tara's mantra and her twenty one verses of praise are widely learned and chanted by Tibetan laypersons. Tara also became
10320-472: The existence of other Sivaite images discovered among the Mandayas (south of where the Agusan image was discovered) and in Cebu should support his conclusions regarding the female Sivaite goddess identity of the golden statuette. Regarding the last assumption, Francisco pointed out that the identity of the other supposedly "Sivaite" images mentioned by Beyer (all of which were destroyed by the fire that consumed
10440-494: The four cardinal directions, while at the interstitial corners are four more "outer" offering goddesses. The outer circle is surrounded by 1000 more buddhas and 24 deities who guard the boundaries, while four guardian deities protect the four portals at the four cardinal directions. The Tibetan scholar Rob Linrothe was one of the first to recognize the Agusan image as Vajralāsyā, who is always shown with her hands on her hips. Florina Capistrano-Baker agrees with this conclusion, noting
10560-507: The four offering goddesses sit at the inner circle's four corners. The four inner goddesses associated with offerings made to the Buddha Vairocana are Vajralāsyā ("amorous dance", sitting at the southeast corner), Vajramālā ("garland", sitting at the southwest), Vajragītā ("song", sitting at the northwest), and Vajramṛtyā ("dance", sitting at the northeast). In the outer circle are sixteen further deities, four arranged along each of
10680-488: The goddess Tārā. Following her cultivation of bodhicitta, the bodhisattva's motivation, she looked upon the situation of those striving towards full awakening and she felt that there were too few people who attained Buddhahood as women. So she vowed, "I have developed bodhicitta as a woman. For all my lifetimes along the path I vow to be born as a woman, and in my final lifetime when I attain Buddhahood, then, too, I will be
10800-429: The goddess Tārā. Following her cultivation of bodhicitta, the bodhisattva's motivation, she looked upon the situation of those striving towards full awakening and she felt that there were too few people who attained Buddhahood as women. So she vowed, "I have developed bodhicitta as a woman. For all my lifetimes along the path I vow to be born as a woman, and in my final lifetime when I attain Buddhahood, then, too, I will be
10920-403: The image by scholars difficult is the fact that it has no specific iconographic attributes. The goldsmiths in the Philippines knew of Hindu and Buddhist artistic conventions, but did not include motifs which would identify them as specific deities. Philippine goldsmiths may have done this intentionally to maintain their ethnic identity. In 1917, the Agusan image was found by a Manobo woman along
11040-640: The image was finally acquired for the museum in 1922 for ₱4,000.00. The image was then shipped to the United States in 1922 and was finally housed at the Field Museum of Natural History in Chicago, where it is still stored up to this day. Since the 21st century, the site in Agusan where the image was found has become a pilgrimage site for Buddhists and animists alike. The artifact has been a source of conflict between Filipinos and Americans for many years, and many Filipino scholars have demanded its return. It
11160-676: The lives of dharma practitioners when they take themselves, or the 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
11280-545: The lives of dharma practitioners when they take themselves, or the 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
11400-492: The main form of Tārā, Green Tārā, is considered to be the source of all beneficial activities. Within Tibetan Buddhism, Tārā appears in many forms, each tied to certain colors, symbols, and beneficial activities. As Green Tārā she offers succor and protection from all the unfortunate circumstances one can encounter in the world of suffering. As White Tārā she expresses maternal compassion and offers healing to beings who are hurt or wounded, either mentally or psychically. White Tara
11520-492: The main form of Tārā, Green Tārā, is considered to be the source of all beneficial activities. Within Tibetan Buddhism, Tārā appears in many forms, each tied to certain colors, symbols, and beneficial activities. As Green Tārā she offers succor and protection from all the unfortunate circumstances one can encounter in the world of suffering. As White Tārā she expresses maternal compassion and offers healing to beings who are hurt or wounded, either mentally or psychically. White Tara
11640-436: The mantra in the same manner. For example, sarvapāpaṃ āvaraṇa viśuddhe (cleanse all evil and obscurations), or dhanaṃ me dehi (give me wealth). Other extensions of the basic vidyā mantra include a common mantra for wrathful forms of Tārā: Oṃ tāre tuttāre ture hūṃ phaṭ, and a common mantra for White Tārā used to increase lifespan is: Oṃ tāre tuttāre ture mama ayuḥ punya jñānā puśtiṃ kuru svāhā. Tara's seed mantra ( bijamantra )
11760-436: The mantra in the same manner. For example, sarvapāpaṃ āvaraṇa viśuddhe (cleanse all evil and obscurations), or dhanaṃ me dehi (give me wealth). Other extensions of the basic vidyā mantra include a common mantra for wrathful forms of Tārā: Oṃ tāre tuttāre ture hūṃ phaṭ, and a common mantra for White Tārā used to increase lifespan is: Oṃ tāre tuttāre ture mama ayuḥ punya jñānā puśtiṃ kuru svāhā. Tara's seed mantra ( bijamantra )
11880-463: The mantra of Golden Tara (for increasing and wealth): Oṃ tāre tuttāre ture puṣṭīṃ kuru svāhā. Other Atiśa tradition Tārā mantras require one to insert a specific name into it. For example, the mantra of Tārā who utters hūṃ allows you to influence or seduce a person, and thus is structured as follows: Oṃ tāre tuttāre ture [name of person] ākarṣaya hrī svāhā. There are various prayers, odes ( stotras ) and dharanis associated with Tara. The most famous
12000-463: The mantra of Golden Tara (for increasing and wealth): Oṃ tāre tuttāre ture puṣṭīṃ kuru svāhā. Other Atiśa tradition Tārā mantras require one to insert a specific name into it. For example, the mantra of Tārā who utters hūṃ allows you to influence or seduce a person, and thus is structured as follows: Oṃ tāre tuttāre ture [name of person] ākarṣaya hrī svāhā. There are various prayers, odes ( stotras ) and dharanis associated with Tara. The most famous
12120-602: The most important form of the deity in Tibetan Buddhism. A practice text entitled Praises to the Twenty-One Taras is a well known text on Tara in Tibetan Buddhism and in Tibet, recited by children and adults, and is the textual source for the twenty-one forms of Green Tārā. The main Tārā mantra is the same for Buddhists and Hindus alike: oṃ tāre tuttāre ture svāhā . It is pronounced by Tibetans and Buddhists who follow
12240-437: The most important form of the deity in Tibetan Buddhism. A practice text entitled Praises to the Twenty-One Taras is a well known text on Tara in Tibetan Buddhism and in Tibet, recited by children and adults, and is the textual source for the twenty-one forms of Green Tārā. The main Tārā mantra is the same for Buddhists and Hindus alike: oṃ tāre tuttāre ture svāhā . It is pronounced by Tibetans and Buddhists who follow
12360-480: The name " Butuan " (signifying " phallus "). Juan R. Francisco on the other hand found the conclusion of Beyer regarding the identity of the golden image as questionable. Specifically, he questioned Beyer's assumptions that: (1) "Butuan" means "phallus (the origin of the name "Butuan" is still under discussion); (2) that the king of Butuan, being not a Muslim, should therefore be a Hindu of the Saiva persuasion; (3) that
12480-442: The ocean of saṃsāra, and who "pulls [them] up" ( ut-tārā ). Turā, the third epithet, means "swift." Many Tārā mantras build off this base vidyā mantra by adding various mantric words which activate different functions of the deity, such as pacification or subjugation. As Beyer notes, one way to do this is to add a phrase like "sarva ____ śāntiṃkuru" (pacify all ____ ) in between ture and svāhā. Different terms may be inserted into
12600-442: The ocean of saṃsāra, and who "pulls [them] up" ( ut-tārā ). Turā, the third epithet, means "swift." Many Tārā mantras build off this base vidyā mantra by adding various mantric words which activate different functions of the deity, such as pacification or subjugation. As Beyer notes, one way to do this is to add a phrase like "sarva ____ śāntiṃkuru" (pacify all ____ ) in between ture and svāhā. Different terms may be inserted into
12720-407: The offering of water, flowers, incense, lamps, unguents, etc. The Diamond Realm Mandala is one of the well-known and well-documented of the early Buddhist mandalas. Located at the center of such mandala is the Buddha Vairocana , surrounded by an inner circle of deities. The four cosmic Buddhas occupy the four cardinal points of the inner circle, each of which is surrounded by four attendants, while
12840-400: The purpose of advocating for its repatriation to the Philippines. The Field Museum has stated that it may return the golden image if it is "strongly requested" by the Philippine government. In April 2018, a documentary from GMA Network featured the Agusan image, this time showing the people of Agusan del Sur supporting the repatriation of the figurine. Scholars also found a document proving
12960-407: The similarities in style between the Agusan golden image and the other statuettes belonging to a three-dimensional Diamond Realm Mandala set such as the four bronze deities discovered in Nganjuk , Java (believed to represent the four offering goddesses of the outer circle). The shared characteristics between the Nganjuk figurines and the Agusan golden image were already suggested back then in 1920 by
13080-400: The sound of many birds, And with murmur of waterfalls, thronged with wild beasts of many kinds; Many species of flowers grow everywhere." Her association with the wind element (vaayu) also means that she is swift in responding to calls for any aid. According to Miranda Shaw , " Motherhood is central to the conception of Tara". Her titles include "loving mother", "supreme mother", "mother of
13200-400: The sound of many birds, And with murmur of waterfalls, thronged with wild beasts of many kinds; Many species of flowers grow everywhere." Her association with the wind element (vaayu) also means that she is swift in responding to calls for any aid. According to Miranda Shaw , " Motherhood is central to the conception of Tara". Her titles include "loving mother", "supreme mother", "mother of
13320-488: The subject of debate. Proposed identities of the gold figurine range from that of a Hindu Sivaite goddess to a Buddhist Tara . Recent scholarship suggests that the image represents the offering goddess Vajralāsyā of the Tantric Buddhist tradition. Although the statue was likely first made as either a Buddhist or Hindu deity, it has also been worshipped as an Animist deity and even provided an altar until it
13440-506: The world", "universal mother" and "mother of all Buddhas". As such, Tārā 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
13560-453: The world", "universal mother" and "mother of all Buddhas". As such, Tārā 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
13680-405: The worship and practices of Tārā became incorporated into Tibetan Buddhism as well. 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 sadhanas , stotras , or tantric meditations. Independent of whether she is classified as a deity, a Buddha, or
13800-405: The worship and practices of Tārā became incorporated into Tibetan Buddhism as well. 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 sadhanas , stotras , or tantric meditations. Independent of whether she is classified as a deity, a Buddha, or
13920-615: Was Her origin? - Arya-Lokesvara, the Lord and Refuge of the Three Realms, Desire, Form, and Formless, which depend on the five or [in the Formless Realm] four aggregates that perish in an instant, saw that however many migrating beings he removed from samsara, they grew no fewer, and He wept. Tara sprang from the opening filaments of his face - of an utpala (blue lotus) that grew in the water of His tears. Another tale begins with
14040-439: Was Her origin? - Arya-Lokesvara, the Lord and Refuge of the Three Realms, Desire, Form, and Formless, which depend on the five or [in the Formless Realm] four aggregates that perish in an instant, saw that however many migrating beings he removed from samsara, they grew no fewer, and He wept. Tara sprang from the opening filaments of his face - of an utpala (blue lotus) that grew in the water of His tears. Another tale begins with
14160-585: Was made by local workmen in Mindanao , copying a Nganjuk image of the early Majapahit period — except that the local artist overlooked the distinguishing attributes held in the hand. It probably had some connection with the Javanese miners who are known to have been mining gold in the Agusan - Surigao area in the middle or late 14th century. The image is apparently that of a Sivaite goddess, and fits in well with
14280-442: Was stolen from its place of worship in Agusan del Sur in the early 20th century. H. Otley Beyer believed that the image was that of a Hindu Sivaite goddess , but with the religiously important hand signals improperly copied by local workmen. If true, this suggests that Hinduism was already in the Philippines before Ferdinand Magellan arrived, but also that the early Filipinos had an imperfect version of Hinduism adopted from
14400-468: Was stolen from their traditional Manobo house. It then ended up in the hands of Blas Baklagon. In 1918, Baklagon brought the artifact to the attention of Dr. H. Otley Beyer , who called it "the most spectacular single find yet made in Philippine archeology". Beyer, who was then the chair of the Department of Anthropology at the University of the Philippines and thus also serving as an honorary curator at
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