31

20107

Transformation of the Goddess Tr

with Special Reference to the Iconographical Features

Jae- Eun SHIN

IND 0-KOKO-KENK YU
IStudies in South Asian Art andArchaeology Vol. 3 1 (2009-2010), Ofrint

lndian Archaeological Society (JAPAN)

Transformation of the Goddess Tar

with Special RefTerence to the Iconographical Features

SHIN Jae-Bun
Kiyose-shi

1. Introduction
Though the goddess Trfigures prominently in Buddhist traditions, her orlgln is veiled
in obscurlty Which has given rise to considerable controversy A general oplnion is that Tris

orlglnally a Buddhist goddess because her distinct features mainly appeared in Buddhist texts and

sculptures [Shastri 1925: 12; Kinsely 1987: 165]. Some scholars, however, claimed that Buddhists
borrowed the conception of Brahmanical Tarwho is identical with the goddess Durg[Dasgupta

1967: 117; Ghosh 1980: 17]. On the other hand, the connection ofTara with Tibet or China was
significantly postulated lShastri 1925: 23; Bhattacharyya 1999: 1 95] However, in the uneven history
or goddess(es), no claims of origin are uncontestable. In many cases, the origin of a particular deity
has been `consciously'Constructed fr authenticatlng Or COnteStlng a Certain religious identlty Of a
deity. Instead of searching for a primordial image of goddess Tra, I would like to trace the historical

process through which various - even inconsistent and contradictory - identities of goddess Tra were

made, transfigured and crystallized in the course of time, especially in East India from the 7th to 15th
century with a special reference to her iconographical features

2. Initial Development of TrWorship

Derived from the causative form of Sanskrit root Jtri, the name Tarmeans carrying across,
helping over a difGculty, rescuing and saviouress. One of the early evidences of the Tarcult may be

traced in the AhAa-dh67dz7 in which Tariappeared as one of epithets of Devi [Sukthankar 1933-;

, appendix, 710]. Whether it designates a distinct independent female divinityor not is

not so clear. Without any mythologlCal explanations or iconographical features, it is very dicult to

assert any clear identityof Taripi in the AkAa-ida-jdu.

There is little evidence to suggest the appearance of goddess Tarbefore the 5th century

in Buddhist traditions The AIy3-MallJ'LZS'H-mH-hkalpa is probably one of the early Buddhist texts
containlng an elaborate descrlPtlOn Of Tr. The initial composition of this text may be assigned

to the 5th century, but the available text in its present fbm is not earlier than the 8th century. The
descrlPtlOn Shows that Tra is closely associated with Avalokitevara in the initial development. She
is noted as the personification ofkaTLZPa- (compassion) of Avalokitevara (dev1-a-a-9ivBJokl'tes'var9-

INDO-KKO-KENKYU - studies in

South Asian Art and Archaeology

No.31, (200912010), pp.1 7132

17

kdTLZP3-Hz a-1ya-t3-1:a-41) and it is enjoined that she, seated in the paTyHPkH-saDa, should have a side

glance towards Avalokitevara It also furnishes her characteristic features Thus holding a blue

utpala2), she wears all omaments and displays the varada-mudrd3) Her complexion is noted here as
golden Ofthin waist, she is neither too young nor too old [Ghosh 1980: 11].
Her close association with Avalokitevara was attested by an image of the period of the late

6th century, which has survived in the north wall of the main temple ofNalanda (Fig.1). We and
Trstanding on the left side of Avalokiteivara.. The sparsely-bejeweledfigure is badly damaged,
but frtunately an, the stalk of which is in her left hand, is preserved. Another image of the
late 6th century which was found in the Nalanda stdpa 3 demonstrates the typICal features of Taras

were described in the Ab(a-MaQkfrf-mH-/abzz/pw (Fig. 2). Although the face and bust of the figure are
damaged, the figure shows that she is seated in thepalyaPka-sand, is well decorated with omaments,
holds an utpala in her left hand and exhibits the varada-mudra with her right palm.
The early development ofTarworship is also noticed in the series of caves in Deccan where

the substantial number of Buddhist images were preserved. None of caves ofAjanta of the 5th
century bears the sculptural representations of Tra and Buddhist feminine divinities. From the
6th century onwards we can trace the nascent forms of Tr, that often appear as the lotus-bearing

female images in the caves at Aurangabad. For example, there, the entrance to the main shrine in
Cave 7, which centers on a Buddha, isflanked by two similar reliefs of lotus-bearlng female with a

Fig 1 Avalokitevara and Tr, Nalanda, the late Fig. 2. Tar, Nalanda, the late 6th century lGhosh
6th century [Ghosh 1980: Fig6]1980: Fig.81

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INDO-KOKOIKENKYU No. 31

pair of fTemale attendants lHuntington 1985: 265-67].

Apart from the lotus, however, the females have no

identifying traits. It is considered as 'a precursor of
Tra rather than Trherself'[Shaw 2006: 3 14].

An image from Cave 8 at Ellora which was

dated from the late 6th century may show an initial
evolvement ofTrfigure in Deccan (Fig. 3). She

stands on the right side ofAvalokitegvara by holding

a lotus bud instead of an utpala in her left hand.

Moreover, her right hand does not exhibit the varadamudr, but merely shows the back of her right hand,
whereas Avalokitevara displays the varada-mudra-. It

lS, therefore, suggested that the image of Tara with her

Fig. 3. Avalokitevara and Tr, Cave 8 at Ellora,

emblems par excellence - varada-mudra and utpala

the late 6th to the 8th century (from The

- was fully evolved at Nalanda monastery site around

Huntington Archive Scan no. 0007498)

the 6th century when the figures ofTrWere still in an

experimental stage of iconography in Westem Indian caves. It is only the 7th century and afterwards
that we find the fully evolved image ofTrin West India lGhosh 1980: 31].
The prevalence of Tra worship around the 6th century in East India may be suggested

by the fact that the celebrated Buddhist grammarian Candragomln, Who is said to have settled in

candravipa4) and is called Dvaipa, wrote his stotra (hymn of praise) of Tara, entitled ,irp-LdraTnf23V:4a/11', very probably inspired by the goddess of CandravTpa lMajumdar 1971 : 299 note 2;
Sircar 1967: 130] According to Trnatha's account on Candragomin, it seems that he established
a stone image of Trand Avalokitevara in a temple at Candravipa [Chattopadhyaya et al. 1990:

199-209]. As a Chinese monk Hsiuen Tsang noticed, the worship ofTra as a companion of
Avalokitevara appears to have been widespread at Nalanda and its adjoining area in the first half of
7th century lBea1 1994 (VIII): 103]. From the early images ofTarand textual evidences it is highly

probable that the cult of Trarose in easternregion and gained its popularityamong the circle of
Buddhists befre she fund her way Into Brahmanical traditions.

3. Developed and Various Forms ofTar

During the four centuries of Pla's rule, from the middle of 8th century to the early 12th

century, East India remained as the last stronghold of Buddhism Buddhism under the Palas appears
in a frm very different even from the Buddhism which Hsiuen Tsang described This new form

of Buddhism isknown under the generic name 'Tantrayana'or `Mantrayana', which assumed three
differe.nt varieties in this period, viz Vajrayna, Sahajayna and Kalacakrayana. The goddess Tara

19

Occupied a slgnificant position in Vajrayna tradition where the importance of mystic ritualism

including mantra, ,wAld719r and ,mTaDda/7 Was highly emphasized.

As religious practices, pantheons, and philosophical speculations of Vajrayana were formulated
under the influence of other religlOuS traditions, the character and attribute of Trhave also

undergone important changes. In course of her conceptual development, she had absorbed within
herself a number of divinities representlng different aspects of the Goddess. The forms of Trhave
so developed in this period that it is not easy to classify them. To some extant,five forms ofTar

Were classified based on the colours - green, white, red, yellow and blue - which indicate the function
to be performed and identifytheir respective kulas or families associated with five Dhyni-Buddhas
and five cosmic elements lBhattacharyya 1958: 306-9]. Among them, four important forms ofTr

Will be discussed for understanding the change of iconographical feature and its implication.

1) A!tamahabhaya Tara :
Tara, who had been a companion ofAvalokitevara, gradually shed her sole association with him

and began to acqulre an independent and exalted position. She was cast in the role of saviorom `eight

great perils '(as.tamaha-bhayH) - Shipwreck, conflagration, enraged elephant, brigand, pouncing lion,
serpent, prison and demon - which were initially associated with Avalokitevara lMitra 1957: 20]. The

Fig. 4. Astamahbhaya Tar, Ratnagiri, Cuttack District,

Fig. 5. Astamahabhaya Tra, Somapada, Dacca District,

Orissa, the late 8th to the early th century [Shaw

Bangladesh, the 12th century (Courtesy of the

2006: Fig. 17.2]

Bangladesh National Museum, Dacca)

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INDO_KOKO_KENKYU No. 31

reliefs ofAstamahbhaya Avalokitevara were mainly found in Deccanfrom the 5th to the 7th century.

Although the religious and artistic conceptions Of Astamahbhaya TrWere patterned on

those ofAvalokitegvara, her popularityin this role superseded that of male Bodhisattva from the 8th
century onward lShaw 2006: 318] The iconography ofA!tamahabhaya Tarevolved influx for

several centuries The earliest representation was found at Cave no 9 ofEllora It is ascribed to the
middle of the 7th century The relief portrays her in the same manner as Avalokitevara, standing

between two panels of vignettes depictlng the eight perils However, the panel is so badly damaged
that it is very difGcult to discem the scenes of eight great perils

An image from Ratnaglri in Orissa that is asslgned to the late 8th or the early 9th century has
survived with many of its details intact (Fig. 4). It shows a life-sized figure of Trstanding with

a graceful posture on a double-petalled lotus, holding the stalk of an utpala in her left hand and
displaylng the varada-mudr in her right hand On two sides ofTra are depicted the scenes of eight

great perils and eight small images ofTra seated in the meditation posture

Beginning atthe bottom panel of proper left, we find the following scenes: 1) a man engulfed by
names; 2) a man assailed by demon; 3) a fettered man is in the clutches ofa person; 4) a man attacked
by a charglng elephant Beginnlng at the bottom panel of proper right, One can discem the fbllowlng
scenes: I) three men in sinking boat; 2) a man is target of an arrow of a brigand who draws his bow

to the full; 3) a man attacked by a charging lion; 4) a man standing in front ofa snake All men in the
eight great perils pray for deliverance to Tardepicted immediately above in a miniature form

From the loth century onward, the Astamahbhaya Taroften appeared in a seated posture

An image of black stone from Somapada in Dacca

dated to the 12th century, preserved in the Bangladesh
National Museum (no. 15), depicts the Atamahbhaya
Trwith a variation (Fig. 5). The central figure shows a

typical image ofTr. She is seated in the lalitL5sana on

a lotus pedestal, holding a half10Pened utpala in her le

hand and making the varadamudrd by her right hand

On either side of back-slab of Tarare depicted the

scenes of eight great perils. Each scene has a miniature

figure of Tra saving devotees from perils - snake,fire,

elephant, lion, thief, hunger, shipwreck and fetter. The

miniature Tarimage appearlng ln each scene of eight

great perils unusually makes the abhaya mudra (gesture

Fig 6 A miniature figure of Tra displaylng the

abhaya mudra- (part of A!tamahbhaya

of protection) (Fig 6), instead of the regular varada

mudrd, reinforclng the role of the goddess as a powerful
protector [Lee 2009: 102]

21

Tarin Fig.5), Dacca District, Bangla-

desh, the 12th century (Courtesy of the

Bangladesh National Museum, Dacca)

A Nalanda inscrlPtlOn dated first half of the 12th century refers to a monk Vipularimitra with
the construction of temple of Tripi (i.e. Tra) at Somapura (modern Paharpur, Rajshahi District,

Bangladesh) for dispelling entirely the eight great perils lMajumdar 1984: 99 (V.8)]. The location of
temple construction does not precisely correspond to the place where the image of Astamahabhaya

Tara in a seated posture in Fig.5 was found. Nevertheless, it leaves little room for doubt that the
idea of deliverance from the eight great perils, which was associated with Avalokitevara till the
7th century, continued in the fold ofTarcult in easternregion during the early medieval period. It

suggests Avalokitegvara's active functions and attributes were completely absorbed by his female
counter part lMitra 1957: 22]. Thus, Tr, a benevolent saviouress became a strong protector against

the great dangers.

2) Durgottripi Taror Durgot-Tra

Etymologically her name Durgottari(Dul:g3--Htt3-1'1417 means who makes one across the

difficulties. It is probably inspired by the name of goddess Durga, a great protector as well as
a formidable warrior. The period when Targalned in popularlty coincides with a remarkable

development of Saktism in Brahmanical traditions, The

theologlCal framework of the Mahd Devffrom which all

goddesses emanated as her manifestations was constructed

and promulgated in the Devt-mahatmya around the 6th

century lCoburn 1997: 1-9]. The goddess Durg, One

of important manifestations of the Mahd Devt, taking

important roles as the upholder of cosmic order and the

supreme saviouress in the Devil-JWa-Aw-tmya galned in a

great popularity during the early medieval period.
Durg's impact on the Tara worship IS also

discernible in the iconographical representation of

DurgottarinTr. An image from Lalitaglri in Orissa

exhibited in the Indian Museum (old no. 6956; new

no. A 24130) precisely confirms the iconographical
traits - especially the attributes in her four hands I 0f
Durgottarini Tra that were described in the Sadhanamafu-

[Bhattacharyya 1968 (ol. ): 237]. Decorated with

various ornaments, she is seated in the lalitasana on a

Fig. 7. Durgottrini Tra, Lalitaglri, Cuttack

lotus pedestal with calm expression (Fig. 7). She holds a

District, Orissa, the llth century (Courtesy of the Indian Museum, Kolkata)

paSa (noose) and an aLkzda (elephant-goad) in her upper

leand right hand respectively. While her lower le hand

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INDO-KOKO-KENKYU No. 31

holding the stalk of an utpala rests on the lotus

pedestal, the corresponding right hand makes the

varada- m udra-.
The pS'a and ah4zu'a were often found

in the hands of Durga in her various forms.

However, they have different implications.

while the pas'a and ahdw'a are the weapons of

Durghat assure her triumph over demons,

both objects have a metaphysical significance

in the hands ofTar. According to the
Visnudharmotkm4 Purla aS quoted by Mallar

Ghosh, the pds'a denotes the bandhana (bond or

fetters) from which devotees are relived by Tr.

The significance of ahb2W'a is the command

subjugatlng all beings. At the command of the

goddess people let loose her fettered devotees

[Ghosh 1980: 54].

It is apparent from the aforementioned

image that there was Tantirc influence on the

Figl 8 A fierce-looking female figure demonstrating

Tantric infhence (part of DurgottariTrin Fig.7)

cult ofTara. Afiercellooking femalefigure with

Lalitagiri, Cuttack District, Orissa, the 1 lth century

six a-S standing the below or lotus pedestal on

(Courtesy orthe Indian Museum, Kolkata)

the left side shows the several traits of Tantric

traditions (Fig. 8). She holds a kha.tT(a-dga in her lowest right hand5), and perhaps displays the act of

bowing in her middle right hand. Her lowest left hand is in the tarjant-,wd714 near the chest6). The
object (probably kapdla) in her middle lefthand is indistinct. Above her head is an elephant-hide held

by the two uppemost hands.

Most of attributes in the six hands of the fierce-looking female image are from Saiva Tantric
traditions The khata and kapdla were the representative symbols

oeflKma%ikaarewfhr.O:aSda:.a,sTh;irel

the ferocious fom ofiva, i.e. Bhairava lFlood 2003: 212]. The elephant hide was also associated with
ferociousiva depicted in 'Gajasura-saqlhara-mu-rti, (image of the destruction of the elephant demon).

It became an important attribute of the terrible goddess Camu[Brighenti 2001 : 248150]. As noticed

by Sanderson, there had been an approprlation of Saiva Tantric tradition by Buddhists, which resulted
in the extensive parallels between their texts, religious practices and symbols [Sanderson 1990: 678-

9]. Therefore, a number of Buddhist deities, especially emanating from the Dhyani Buddha Ak!obhya,

contain the Saiva Tantric traits in their iconic forms.

The image of Durgottrini Tarfrom Lalitagiri shows the ever expanding concept of Trthat

23

absorbed various attributes from different relig10uS Creeds - Buddhist, Brahmanical and Saiva Tantric -

and brought about a more complicated fbm of the goddess.

3) KhadiravaTara and Ekajat

According to the Sdhanamala-, Khadiravapi Tara is an emanation ofAmoghasiddhi. She

has two arms displaylng the varada mudra with her right palm and carrylng an utPala with her left
hand. She can be recognized by the figures of two attendant female deities - Aokaknta MarC7 0n
the right and Ekajata on the left [Bhattacharyya 1968 (vol. ): 176]. As regards the etymological
meaning of KhadiravaTarvarious opinions were postulated - Tarof the forest (vana) of Acacia

catechu (khadira), or Tara of a locality which had a wood ofkhadira [Ghosh 1980: 66]. Though

several geographical places were suggested for Khadiravaqa, lt is still not easy to identify it with any
particular locality in present condition.

A polished black stone statue from Tetrawan preserved in the Indian Museum (old No1 3824;
new No. A 25 1 58) shows the typical iconographical feature of Khadiravapi Tra (Fig. 9). The image

is asslgned to the latter part of llth century based on a dedicatory lnSCrlptlOn that was dated the
second year of king Rmapala of the Pala dynasty. Very luxuriantly decorated with jewels and draped
in a long sdl-, She is standing on lotus pedestal. She makes the varada-mudrd by her right hand

and holds a stalk of utpala in her left hand. Around the top edge of polnted-arched back-slab are
carved the seated five Dhydni-Buddhas - Vairocana, Aksobhya, Amoghasiddhi, Ratnasambhava and
Amitbha. By the right side ofTris AgokakntMrici standing with a benign face. By the left

side of Tara is two armed Ekajata standing in the pratyLi(i-471a POSture7).

The colophon of sadhana of Ekajata in the Sadhanama/a- states that NgarJuna took the

worship of the goddess from the inhabitant of Bhota (drya-nagzt77bwapa-gal.4 dAjhldj647:/22:W)

lBhattacharyya 1968 (vol. I): 267]. Bhattacharyya identifies Bhota (Tibet) with Mahcina and
suggests that the goddess Ekajat(or Mahacinatar), worshipped by inhabitants of Tibet probably

professlng the Bon religion of Tibet, was introduced by Nagarjuna in the middle of the 7th century
[Bhattacharyya 1968 (vol.II, intro): cxli]. Ekajathad very little role as an independent goddess
in the early history. However, she was gradually Incorporated into the Tarcult and became the
most favorite companion of Trafter 9th century. Desplte the fact that it is not entirely clear

whether Ekajata is identical to Mahcinataror not, two goddesses are considered as more or less

same in terms of iconographical features and mantra employed for both goddesses lBagchi 1975:
41]. The description of Ekajatwhich is found in six sa-dhanas of the Sddhanamald, closely

agrees with that of Mahcinatr The terrifying appearance of Ekajata or Mahcinatarhas been
reason for her epithet Ugratr.

The iconographical traits of Ekajatstanding on the left side of KhadiravaTar(Fig 9)

almost correspond to the description of the SL5dhanama/a- lBhattacharyya 1968 (vol I): 266] With

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INDO_KKO_KENKYU No31

flame-like hair rislng upwards, the pot-bellied

and dwarfish deity is fierce looking with three

round eyes and teeth displayed. Her fiery nature is

indicated by names covering her back. In her left
palm is a kapa-la (skulllCuP), While the right hand
holds near the shoulder a vajra-kartari (knife with

vajra on the top) She stands in the pratyalt4ha

posture

The several Hindu Tantras emphasize that

the worship of this fierce form of Tara follows

not the established 'Vedic'way, but the 'lefthand'(vdma) path called kulac0-7;a Or Cikdc0-71g.
The Brahmaya-mala narrates a story that Vasistha,
who was advised by Tarto go to Cnadea, the

Buddhist land where Atharva Vedic ritualism is

ever in vogue. In Cna he encounters the Buddha

practicing the Tari(Tr) cult which involves

five makaras (meat,fish, liquor, mudrd and sexual

intercourse) known as caw-ca-jZT and is initiated in

this path [Kinsely 1998: 96].

Based on this story and other evidences,

Fig. 9. KhadiravaTara with AokakntMrTchi on

Shastri advocates the forelgn Orlgln Of Tara

by arguing that it was possibly Indo-Tibetan

the Right and Ekajaon the Left, Tetrawan,

Patna District, Bihar, the latter part of 1 lth

century (Courtesy of the Indian Museum,

Kolkata)

borderland of India or Indian Tibet whence Tra

was introduced into India via Nepal." [Shastri 1925: 15-6. Several scholars postulate the freign

orlgln Of goddess Tarbased on Shastri's oplmion. Nevertheless, iconographical evidence does not
support this hypothesis because no images of Ugratrearlier than the loth century have been found.
As was discussed, the early lmageS Of Trfrom West and East lndia and textual evidences attest to
the fairly continuous development ofTrcult from the 6th century. The inclusion of foreign goddess
such as Ekajata (or MahacinLatr) and other many minor deities in Tarpantheon demonstrates the

further expansion of the concept of Tara from a benevolent saviouress / a strong protector to the

universal goddess like Brahmanical Mahd Devl- who is omnlPreSent, OmnlPOtent and omniscient.

4) Vajra Tara
Vajra Tar1iterally means the Tarof the adamantine essence, the absolute of Vajrayna. In
its technical sense, vajra, which is the symbol of the ultimate reality of Vajrayna, is equated with

25

S'iiqJtZA4 (void, nothingness) According to the Vajaynist, S'iLqJalaL is designated as Vajra because it

is firm, cannot be changed, cannot be pierced, cannot be penetrated, cannot be burnt and cannot be
destroyed [Ghosh 1980: 82].
According to the Sadhanamada-, Vajra-Tarin the centre of the circle of mothers (marl.rmapdala)

has four faces and eight arms and bears on her crown the figures offive Dhyni Buddhas. She is

resplendent in her blooming youth and wears gold kundala Seated on the full-bloomed lotus, she

radiated reddish light She holds in her right hand a vajra (thunder bolt), a pds'a (noose), a s'aR'lAa

(counch-shell) and a s'ara (arrow), and in her left a vajra-fubU'a (elephant-goad marked with a
thunderbolt), an utpala and a dhanus (bow) the fourth hand being in the tarjant-mudra lBhattacharyya
1968 (ol. ): 179]8).
The sdhana further describes the ten deities constitutlng the mandala. In the first circle

are four goddesses - Pu!patr(east), Dhapatra (south), DTpatar(west), and Gandhatara (north).

Each of them carries a garland, an incense stick, a lamp and a conch of scents respectively In the
second circle are also four goddesses - Vajrkui (east), Vajrap(south), Vajrasphot7 (west), and

Vajraghapt(north) holding the goad marked with vajra, the noose marked with vajra, the chain

marked with vajra and the bell marked with vajra respectively The goddess occupylng the upper

Fig lot Vajra Trin the mandala often goddesses, Fig. ll. Vajra Tara, Sarnath, Uttar Pradesh, the 12th century
Chandipore close to Patharghata, Bhagalpur(courtesy of the National Museum, New Delhi)

District, Bihar, the 12th century (Courtesy of

the Indian Museum, Kolkata)

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INDO_KKO_KENKYU No. 31

region is Ui!avijaya carrying a cakra (wheel) and the lower region is Sumbhholding a ,qa-ga-

pdu'a (a noose made of snake). These ten deities are stated to be das'ap3-mml't3-S'TByal (the abode of
ten perfections) and originating from ten syllables of the Tra mantra ((7Hff2m3 7.uje

lBhattacharyya 1968 (vol. I): 1791180]. The cakra as solar symbol is associated with the sky and the

Jqa-gu-jUdu'w is appropriate for a deity of the nether world lGhosh 1980: 80].
A bronze image ofVajra Tarpreserved in the lndian Museum (no. A 24364/455 1) ingeniously
represents the complete maala of ten goddesses (Fig. 10). It was found at Chandipore close to

Patharghata in Bihar [Bhattasali 2001: 45]. It presents the appearance of a lotus bud when it is
closed. When opened, it discloses the image of the four faced and eight armed Vajra Tra in the
centre of lotus with eight petals. Each petal bears the image of an attendant goddess. Vajra Tarholds

a vajra in her upper most right hand, and objects in the remainlng three hands being arrows, a noose

and a conch-shell Her lowest left hand is in the tarjant mudra-, the second bears an elephant goad,

the third carries an utpala and the fourth holds a bow She is the centre ofmandala. While eight
different goddesses (Pu!patar, Dhdpatr, DTpatara, Gandhatar, Vajrku, Vajrap, Vajrasphoti

and Vajragha) surround Vajra Tr, two goddesses (UaVijayand Sumbh) are standing on

separates lotuses issulng from the foliated stem of the prlnCiple lotus.
Another example of the image of Vajra Taris the large bust of stone found at Sarnath and now

exhibited in the National Museum (acc. no. 47. 32) (Fig. ll). It has fur head as was described in the

Sidtt-ma-fu-I The crown of main head has four triangular projections, each containlng an image of Dhyanl-

Buddha They are identified as Ratnasambhava,Amitabha, Vairocana and Aksobhya. The crownof the rear
face bears the figure ofAmoghasiddhi [Ghosh 1980: 86]. The exalted position ofVajra Trwasindicated by

the presence offive Dhyani-Buddhas presiding over the five skandhas or elements of which the universe is
composed The five skandhas are u3Wa-pw (consciousness), (form), 743dzlHa- (feelings), Jar+hW- (ideas)and

JiZjmh-ml (motivation) She is conceived as the embodiment of allfive skandhas and the absolute goddessin
Vajrayana.
In addition tothe stone figure ofVajra Tr,theinscnptlOn Of KumaradevT mayindicate the important

presence of the Vajra Tra cultinSamath Buddhist monasteryaround the 12th century. Theinscription refers

the construction of I(1h-a which consists of nine segments, viz., nava7 (nine chambered
-/a) lKonow 1983: 325] The postulation that 'the monastery buildings wereinsome way a Vajra Tra

-zp.dzz/7'[Woodward, JR. 1981-83: 12 and 19] is somehow probable, though it needs to be verified by more
tangible archeological evidences.
The cult ofVajra Tra seems to have evolved particularly around the acqulSltion of magical powers. It

is evident from the factthat she is evokedinthe TantriCrites belonging to the category of2udrmw (six acts),

viz. six kinds of black magic. According tothe 5fw-, jambhana (Crushing, destroying), stambhana

(making immobile), mohana (causing delusion), bandhana (causing imprisonment) etc. are performed with the
aid of the mana OfVajra Tar[Bhattacharyya 1968 (vol. I): 178, 183, 192, 200 and 233].

27

4. Tarin the Group ofDaa Mahvidys

The period after the 12th century, the Sena-Varman period, was marked by the progressive
diffusion of Brahmanism in Bengal society. The Senas and Varmans consciously propagated

Brahmanical religion and enforced the tmpdu'712ma-dharma This tendency lS exemplified in three
simultaneous developments: the composition of large corpus of texts statlng the essential Brahmanical

Injunctions later elaborated in the medieval Smrtl', an emphasis on the gotra, pravara and Vaidika
ak3- 0f brahmana beneficiaries of land grants, and the performance of Vedic and Puranic rites

asserting growing influence ofbrahmanas lChakrabarti 2001 : 1 14]. Buddhism, which had been one of
the strong religlOuS frces in Bengal, was gradually absorbed in the fld of other religious traditions.

The process of assimilation of the Buddha as an atdzlyd of VzjnH had already begun during the late
Pala period Various female divinities worshipped in the Vajrayna pantheon also found their way ln
Skta Tantric traditions, which became strong religious force after the 1 5th century.

The cluster of ten MahvidyS (K1i, Tr, TripurasundarT, Bhuvanevari, Bhairavi,

cinnamasta, Dhamvati, Bagalamukhi, MatahgT and Kamal), the most comprehensivekta Tantric

feminine pantheon, got formulated in the conjunction of various religious streams during this period.
The worship of the Mahav idyas is closely associated with the practice ofakarmas, viz., six kinds

ofblack magic Although some goddesses among the group are traced back to the very early phase
of history such as Kli and Tripurasundali, the group of Mahavidyhad been known as a distinctive

group from at least the 12th century ln eaStem reglOn aS Was attested by theand the

Detdu[Shin 2007: 120].

Goddess Tara has occupied a slgnificant position in this group. In many name lists of the
MahavidyS, Trnearly always follows the goddess KalT. While K1i is known as AdTJW-T(^{vu- (the
first Vidy), Tara is sometimes called Dvzt7Jw-uLdTJU- (the second Vidy). Moreover, she is more like
KlT in appearance than any of the other MahvidyS. The Ka/zbz7- Pzlj;jZ-jW mentionlng that Tris

another formofKdescribes her iconographic features as follows: "She has four ams and is black-

coloured; she is adorned with a wreath of heads; she holds a sword and a blue lotus in her two right
hands and a knife and a skulbowl in her two left hands; she always wears a wreath of shaven human

heads on her head and around her neck; she wears a snake as a necklace on her breast and a black
cloth around her loins; she has red eyes; she is provided with a tiger's skin; she has put down her left
foot on the heart of corpse and right foot on back of a lion; she herselffrequently licks the corpse; she

laughs shrilly, is utterly horrible and very frightening, being provided with a conflagration" lSastri
1992: 61. 63b-68].
The descrlPtlOn made above suggests that Trincorporated into the Sakta pantheon is
not benlgn but ferocious like Ekajator MahCnataris. It is already observed that there was a
remarkable similaritybetween the Ja-t{jana of MahCnatara in the SLdjapama-/a- and the LWu(tz-Ha Of

Tras glVen in the later Skta Tantric texts, such as the Tantrasarra ofKrsnaHaDda AgamavaglSa and

28

31
INDO_KOKOIKENKYU No. 31

theof Brahmananda lBhattacharyya

1958: 190-1]. Therefore, Tr, a great object of

veneration in the Sakta Tantra, appears to have been

adopted from the Vajrayna pantheon lBanerjea

1985: 560].

However, the adoptlOn Of a divinlty

worshipped in the other religious creed does not take

place in a form of simple inclusion. It is rather a

conscious process through which the former attributes

of a deity were intentionally removed or reinterpreted

and different traits were superimposed. The image

of Tathgata Aksobhya which usually appears on
the head of Ekajator Mahcinatara is not found in
the Mahvidya Tr. Instead, she had a snake, one

of the Saiva traits, on her head, while `the snake is

absent in Buddhist images'[Bhnemann 1996: 475].

The Todala Tantra offers an explanation for this

alteration thativa is called a10(unshakeable),

Fig. 12. Tarin the group often MahavidyS,

Nandikewari temple, Sainthiya, Birbhum

District, West Bengal, the 20th century

because he drank the deadly poISOn Without agltation

(a-kFobha). Furthermore, the text emphasizes that

with him (AkFobhya), Tri, the great goddess of

delusion, is engaged in love play [Sastri 1976: 1.

4-7ab].
The panels which depict ten Mahvidys as the
emanations of Sat, the consort of Siva, contain the

image of Tra in which various Saiva attributes such

as snake, skull and tiger skin were apparent (Fig. 12).

The image generally confirms the iconographical

features described in the Kallba- PzZ-jW Which was
mentioned above. It was found in the Nandikewari

temple at Sainthiya that is one of the well-known

Saktaplz:hw in West Bengal.

While the character, attribute and role of Tar

have undergone the several critical transformations,

the devotee's perceptlOn Of Tarseems to have
Flg. 1 3 Ugra Tar, Ugra TrTemple, Guwahati,

changed One ferocious form ofTrfound at the

29

Assam, unknown date

Ugra Tartemple at Ujan Bazar in Guwahati, Assam, is quite far from any known images ofTr(Fig.

13)I Though it is not entirely clear because of the heavy silver gilt on the surface of sculpture, the
image represents the fierce goddess Camundwho is sittlng On a copse and has the emaciated belly

and sunken eyes The image hardly contains any Buddhist attributes Nevertheless, no local people
and priest consider her as CmundI She is said to be the goddess Trwho had been brought by
Vasistha from MahCna, but worshipped in 'Hindu'way ln Present times

5. Concluding Remarks
The goddess Tar, who began to appear as a companion ofAvalokitevara, became the
benevolent saviouress of Mahyna, transformed into the ferocious great goddess of Vajrayna,
and was incorporated into Skta Tantric pantheon as a consort of Siva The dynamic convergence

of different religious traditions brought about the comprehensive as well as contradictory attributes
of the goddess Tr, which cannot be understood in terms of the assumed and simplified binary

opposition between `Buddhist/Hindu'and `Tantric/Brahmanical' The divergent strands of

incompatible religious traditions have been the mutually dependent variety in the historical process

Notes:
1 Sitting poshre on couch or seat, generally the legs are placed one upon the other with soles hardly visible

21 It is a night lotus which opens at the sunset and closes at the sumise.
31 It is a hand-pose, indicative of offering boon The hand (usually right) showing this mudrd hangs down with
palm outward andngers stretched downward.

4 Candravipa was a small principalityat the Bakarganj District in present Bangladesh.

5 It is the stick generally surmounted bythe vBj+a orkapB-h (skull cup) or tT7iu-h (trident).
6 It is the gesture of threat, index finger raised while the otherngers are lockedl

7 Standing posture in which the lefHeg lS Outstretched and the right is bent at knee
8 There are sixJr On Vajra Trin the Sik271ama-fw-. Though many of iconographical features are more or

less identical, a few differences, such as the number of Buddha resting On Crown, Objects in her hand and so on,
are also discemable.

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