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Tibetan Buddhist Art furniture & Antiques from the monasteries of the Ser Shong (Golden Valley)
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Tibetan Buddhist Deities & Personages

Tibetan Buddhist Deities & Teachers as seen on Tibetan Art & Furniture from Sange Monastery

Symbolisms general
Symbolisms Animals


 

Atisha from Tibetan furniture
atisha statue

ATISHA

Atisha (982-1054) escaped an arranged marriage when he was 11 years old after a vision in which the deity Tara appeared to him and warned him against entering into a worldly life.  Just prior to his wedding date, he said that he wanted to go hunting and, in fact, went hunting, but for a spiritual mentor, not for game. The master yogi Rahulagupta saw that Atisha was still under his parents' worldly expectations and after some time of teaching, devised a plan to free him.  Rahulagupta sent him back to his parents' palace with 4 men and 4 women, each scantily clad in only bone-ornaments. For 3 months, Atisha and his companions behaved outrageously until his parents finally declared (in effect), "Enough, take your naughty friends and hit the road."  Atisha went on to study the middle way, devoting himself to Avalokiteshvara.  At the age 59, he wrote his most influential text, Lamp of the Path to Enlightenment.  In this text, he organized the many teachings into a pathway for progressive training. When he later went to Tibet, he was so taken with the purity of the water that he sanctioned water as an 8th offering for those in Tibet.

Akshobhya-the Immovable tibetanBuddhist tangka temple art

Akshobhya~ the Immovable

Akshobhya, the Immovable, is generally depicted in blue, but he is also depicted in gold and green, he is the least depicted deity in historical art. He is head of one of the 5 Buddha families, however Guhyasamaja often is depicted in his place. His element is space, his aggregate is consciousness, the delusion stupidity and his transcendent wisdom is the all-encompassing that directly comprehends the ultimate reality of all phenomena. In the open, spacious view of wisdom, all notions of separate selfhood are seen as illusory. To the mind conditioned by ignorance this spaciousness poses a threat and terrifies us, so we cling to our egos more and more desperately and engage in selfish actions that we justify for various reasons and thus deceive our self. For enlightenment to be achieved, the energy supporting this frightened stupidity must be liberated and allowed to radiate outward until it becomes as expansive as space itself, thus does Akshobhya help the practitioner.

image from a Tibetan Monastic temple wall hanging.

Avalokiteshvara from Tibetan Furniture

AVALOKITESHVARA ~~ There are 108 depictions Avalokiteshvara, this image from a temple wall hanging from the lower sange monastery shows Avalokiteshvara in the eleven headed and 8 armed aspect called Ekadashamuka. The eleven headed aspect's explanation is this: by means of his immeasurable compassion and meditative strength, Avalokiteshvara managed to empty the hells and ensure that there was potential salvation for everyone. Enthused with this accomplishment he reported to his spiritual father Amitabha, who burst his bubble by telling him to look behind himself. Instantly the underworlds began to fill again with new sinners who had not escaped samsara. This scene caused Avalokiteshvara great despair, he started to weep and his head burst. Amitabha had a hard time to get everything back together and had to add some pieces to keep everything together: he added nine faces of gentle compassion, above this he added the blue demonic head of Vajrapani that functions to ward off evil and at the very top, for further protection he added his own head. There are other versions of this aspects explanation, but they are very similar. The bottom line is with all of these heads he could look out in all directions simultaneously and reach out compassionately and forcefully to all beings. Just before putting Avalokiteshvara back together Amitabha spoke these words: “All circumstances come from cooperative causes conditioned at the moment of intent. Every fortune which arises to anyone results from his own former wish. Your powerful expression of supplication was praised by all the Buddhas; in a moment of time the truth will certainly appear.” One of the other stories concerning this aspect was that Avalokiteshvara had vowed to work unceasingly for the welfare of all beings, he even declared “Until I relieve all living beings, may I never, even for a moment, feel like giving up the purpose of others for my own peace and happiness. If I should ever think about my own happiness, may my head be cracked into ten pieces and my body split into a thousand.” Well when he saw that all of his efforts to help others only really helped a finite number and not an infinite number he said, “What is the use? I can do nothing for them. It is better for me to be happy and peaceful myself.” then he split apart and Amitabha put him back together. In this version he gets the thousand arms and in this depiction he only has 8. The 8 arms of Avalokiteshvara are in differing mudras. The two hands pressed together in front that resembles the anjalimudra, the gesture of respectful greeting, however, Buddhas and bodhisattvas never display this greeting, and as such, there is a jewel or Cintamani pressed between those two hands. This is a wish granting jewel that will fulfill all non-material wishes. This jewel is symbolic of his compassionate bodhichitta motivation. His upper right hand and middle left hand are in the Vitarka, gesture of argument or debate, it symbolizes intellectual discussion and circle formed by the finger and the thumb symbolizes the Wheel of teaching or Dharma. The middle right hand is also in this position, however it is using a different finger to form the wheel while the index finger balances a Dharma wheel set in a mirror's frame. The upper left hand again uses this gesture of teaching, this time to hold a lotus flower. The lower right hand is in the Varada, gesture of charity. Shakyamuni summoned Heaven as a witness to his enlightenment using this mudra. It symbolizes the gift of truth that the Buddha offered to the world, he remained connected to it by his vow to save others from the river of suffering, it is also sometimes called the gesture of mercy. In the lower left hand is most probably a gold Tsebum or jar of nectar of immortality.

Avalokiteshvara (in Tibetan Chenrizi) is the Buddha of Infinite Compassion, the Buddha embodiment of Mercy. He is regarded as the bodhisattva manifestation of Amitabha, having the same boundless compassion. His mantra is the 6-syllable mantra OM MANI PADME HUM.

image from a Tibetan Monastic temple wall hanging.

tangka of Avalokiteshvara properly called sahasrabhuia Lokeshvara

The proper name for this depiction of Avalokiteshvara is Sahasrabhuja Lokeshvara, Lokeshvara is the keeper of the 6-syllable mantra OM MANI PADMI HUM.

Avalokiteshvara is the archangelic Bodhisattva of Great Compassion.  His vast vows to save all beings are said by the texts to be inconceivable.  With his special manta, OM MANI PADME HUM ("Hail the jewel in the lotus!"), he travels to all realms of the universe in his tireless quest to deliver beings from suffering.

The reason for the eleven heads; by means of his immeasurable compassion and meditative muscle, Avalokiteshvara managed to empty the hells and ensure that there was potential salvation for everyone. Enthused, he reported this to his spiritual father, Amitabha, who told him to take a look behind himself. Almost instantly the underworlds began filling up again with new sinners who had not escaped from samasara. Sinking into despair, Avalokiteshvara wept so pitifully that his head burst. Amitabha attempted to assemble the pieces but did not entirely succeed. He supplemented the jpieces to make nine complete faces, each with a gentle expression. Above this he placed the blue wrathful head of Vajrapani that functions to ward off evil, and at the very top, for protection, his own head.

     His right hands are in varamudra, the gesture of granting favors and hold the dharmachakra, the wheel of teachings. His left hads hold a bow and arrow to symbolize keeping dangers and temptations at a distance, and a kalasha, or water jug containing the nectar of immortality, amrita, which is a symbol of the deathlessness of nirvana. The eye located in the palms of all the hands means that nobody escapes Avalokiteshvara’s great compassion.

     Two arms are folded in front of his chest in a position the resembles anjalimudra, the gesture of respectful greeting; however, Buddhas and bodhisattvas never display this greeting. Between his two hands is a Cintamani, a transparent wish granting stone that will fulfill all nonmaterial wishes. In his upper left hand he is holding a red lotus; in his upper right hand he is holding a string of 108 prayer beads; this number is one of the holiest numbers in Buddhism.
amitayus from a Tibetan tangka
amitabha from a Tibetan art tingka

AMITAYUS ~~ AMITABHA

Amitayus~the Buddha of Infinite Life (pictured here on top)~ and Amitabha~ the Buddha of Infinite Light are essentially identical, being reflective images of one another. Sutras in which Shakyamuni expounds the glories of Sukhavati, the Pure Lands, speak of the presiding Buddha sometimes as Amitabha and sometimes as Amitayus. When depicted as Amitayus he is depicted in fine clothes and jewels and as Amitabha in simple monk's clothing. They are also simply known as Amida in the Chinese and Japanese tradition.

Amitabha, the Buddha of Infinite Light, is the oldest of the 5 celestial Buddhas; he is the only one of the celestial Buddhas to have been a real person, earning his place through karmic effort. Amitabha symbolizes the transformation from greed to discriminating wisdom. His hands are in the Gesture of Mediation. His messenger is the peacock and he is the ruler of the Lotus family. He is in the pure lands and followers take the pure lands practice. There is a story of a learned monk who encountered an old woman reciting the mantra of Amitabha as she walked along. “Where are you going?” he asked her. “To Sukhavati” came the reply. “then tell me Granny,” the monk inquired in a mocking tone full of condescension, “where is this Sukhavati?” The old woman pointed to her heart and the monk, impressed by this simple woman's understanding, bowed to her in respect.

sakya pandita from a hand painted Tibetan manuscripts cover

Sakya Pandita AKA Kunga Gyaltsen

Kunga Gyaltsen, better known as the Sakya Pandita. Kunga Gyaltsen was the embodiment of enlightened wisdom, he was instrumental in introducing the tradition of logical analysis into Tibet and some of his works were so acclaimed that they were disseminated in India in a Sanskrit translation. He spent the last years of his life at the Mongol court of Godan Khan and through this the centuries long practice of Choyon was initiated in 1244 AD.

Kshetrapala on a blue bear mahakala attendant

KSHETRAPALA

Kshetrapala on a blue bear, one of Mahakala's major attendants or assistants, the right hand is in the Karam or gesture of Banishing, used to banish demons; it is also holding a vajra chopper. In terms of advanced tantric practices, the main role of Mahakala and his attendants is to fulfill the four enlightened activities of pacifying interferences, increasing favorable circumstances, gaining control over situations, and destroying obstacles with wrathful force. Such powers, especially the last, are easily misused. It has been suggested that serious misapplication of these powerful techniques was partially responsible for the terrible devastation that Tibet has suffered at the hands of the Chinese: therefore, His Holiness the Dalai Lama has said those wishing a dharmapala practice should remember that the best protection of all is one's own development of a kind and loving heart


Maitreya buddha from a tibetan buddhist temple art

MAITREYA

Buddhas who have reached perfect enlightenment reside for a time in the Manorama-Paradise, proclaiming the dharma to the deities, angels and saints before returning to to earth. When Guatama Buddha left Manorama-Paradise, Bodhisattva Maitreya became the ruler and teacher. In the future he will return to earth. The position of his hands is symbolic of the first sermon given by Guatama and represents the setting into motion the wheel of dharma teaching; this mudra is called dharmachakra. The hands are held in front of the heart indicating that the teaching comes straight from Buddha's heart. Maitreya is often referred to as the future Buddha and when he returns we will live in peace. Another of his monikers is Buddha of Loving Kindness. His story begins ages ago with Buddha Ratna-chattra and a disciple monk named Sthiramati. Stiramati had more concern for the welfare of others than he did for himself. He would often go without eating until he had set a vowed number of beings on the path of pure moral discipline, concentration and wisdom. He strong dedication and great loving kindness was noticed by the gods in heaven and they bestowed upon him the title "Loving One" or Maitreya. Buddha Ratna-chattra predicted that in all his future rebirths as a bodhisattva he would be known by this name. One of the main practices of Maitreya is the Seven Limbed Puja (see prayer wheels for explanation)

Guhyasamaja Akshobhyavajra Father~Mother from Tibetan art  temple wall hanging

Guhyasamaja Akshobhyavajra Father~Mother

Guhyasamaja Akshobhyavajra Father~Mother, Guhyasamaja Buddha symbolically represents the union of all of the Buddha clans and is head of the Akshobya clan. His consort, Sparshavajra, is of his same nature as evidenced by her having identical implements in her hands as he does. Guhyasamaja's name means Secret Union or Assembly of the Secret Ones. They are a union of wisdom and method. In some texts Guhyasamaja is simply referred to as Akshobhya or Akshobhyavajra including the Guhyasamaja Tantra. This text was one of the first translated from Sanskrit into Tibetan and is traced back to the 4th century AD, making it the oldest known texts of buddhist tantra. Je Tsong Khapa referred to the Guhyasamaja Tantra as "the king of all tantras.." His main face is dark blue, the face on the right side is either yellow or gold and the face on the left is red and each is adorned with the third all seeing eye or wisdom eye. The three faces have varying interpretations: symbolizing the transmuted delusions of anger, ignorance and attachment; the three major channels of the vajra body; the purified minds, the increase and near attainment; and lastly the experience of illusory body, clear light and union.
The mudras of Guhyasamaja and his consort incorporate the various Buddha families. Guhyasamaja's front two arms are in the Vajrahumkara or Gesture of Union or Hum, often the hands will also hold a vajra (dorje) and a bell. This mudra has a complex meaning, it symbolizes wisdom, sunyata and nirvana, while the crossed arms signify the union of both, meaning that the path and the goal are one. The hum of the Sanskrit name for this mudra, Vajrahumkara is the same HUM as the last syllable of OM MANI PADME HUM, and is the verbal symbol for this unifying concept. Kara refers to the wrist bracelet, Humkara refers to the sound of the syllable HUM. This mudra also symbolizes the Akshobya buddha family. The three flaming Cintamani represents the Ratnasambhava family; the mirror, the the Vairochana family; the sword the the Amoghasiddhi family and the lotus the Amitabha family, thus all 5 Buddha clans are present.

image from a temple wall hanging circa 1390 AD

 

Manjushri image from Tibetan art temple wall hanging

MANJUSHRI~ (Caturbhuja 4-armed version)

Manjushri is identified by his blue flaming sword, and this 4 armed depiction is properly called Caturbhuja-Manjushri, where in Caturbhuja means four armed. In general a sword in Buddhism represents the victory of enlightenment over the the hosts of Mara, the thundering forces of ignorance . So states Bodhicharyavatara; “As the blade of a sword cannot cut itself, neither does the mind know itself.” In other words our own minds deceive us and we must cut through our own self deception. Manjushri, meaning the Gentle Holy One, is the Bodhisattva personifying dynamic wisdom and transcendental knowledge. Depicted as an eternally young prince, he reflects the Buddhist belief that wisdom does not relate to age or accumulated experience. In Buddhism, wisdom is the result of cultivating the spiritual capacity that is the guide to finding the true heart of reality. His sword cuts through ignorance and brings wisdom, the ability to discriminate. His front right hand holds the sword, while his front left hand is in vitarkamudra, the Gesture of giving instruction. The right side is the male side and thus waving a sword is a male related action, whereas wisdom is female and so is displayed on the left side. His two back hands are in the gesture of banishing

Image is from a Tibetan Buddhist temple wall hanging in tangka form.

Mahakala-white

WHITE MAHAKALA

a white Mahakala standing upon two prostrate emanations of himself as Ganesha, the elephant-headed Hindu wealth god. He holds a skull, a trident, a vajra chopper/goad, a dorje and a bell. The White Mahakala is more unusual than the customary black form: he was given the distinction of protector of Mongolia by the 3rd Dalai Lama. The third Dalai Lama converted Altan Khan in the late 1570's.

A note on Mahakala, the term Mahakala many times is translated as Great Black One, however kala means time and therefore Mahakala would be better translated as Great Time. Time is seen as the destroyer of everything and every one, and therefore can be equated with death. On one hand time is eternal, however in our perspective, we get little bits of this eternity that are finite in which to grow and reach enlightenment.

6-ARMED MAHAKALA from a Tibetan tangka buddhist art

MAHAKALA

The Mahakala was originally a demon: Manjushri paralyzed Mahakala, made him an offer he could not refuse and Mahakala changed forever into the protector of Buddhism and is now the fierce manifestation of Avalokiteshvara. Thus helping beings overcome all negative elements, especially spiritual ones.
The identifying feature of Mahakala is the trident in his upper-most left hand. In Buddhism the trident symbolizes control over the three central channels of the subtle nervous system: the main channel is the susuma and the secondary channels are ida (left) and pingala (right). The trident is used to overcome the three basic vices: desire, aggression and ignorance. In terms of advanced tantric practices, the main role of Mahakala and his attendants is to fulfill the four enlightened activities of pacifying interferences, increasing favorable circumstances, gaining control over situations, and destroying obstacles with wrathful force. Such powers, especially the last, are easily misused.

dugon trakshad accompanies Mahakala from a Tibetan Buddhist tangka painting

DUGON TRAKSHAD

Riding a dark gray horse is Dugon Trakshad. He is one of the dharmapalas assisting Mahakala, helping to thwart the internal interferences that arise from the delusions ~ pride, avarice etc., that obscure the essentially pure nature of our mind. We are advised to keep our practices hidden and to maintain a humble outward appearance, avoiding the attraction of external hindrances. Exposing our practices to others and boasting about being tantrika is like letting everyone know that we are carrying around precious jewelry: sooner or later we shall attract thieves intent on stealing our valuables.

palden Lhamo from a Tibetan Buddhist temple wall hanging

PALDEN LHAMO

Palden Lhamo is the only female among the eight great dharampalas (Protectors of Buddhism). She is a protectress of Buddhist governments everywhere, including the Dalai Lamas and their government in Lhasa. She was also a protectress of Imperial China from the Yuan dynasty in the thirteenth century to the end of the Qing dynasty in the twentieth century.

In India, Palden Lhamo is also known as Shri Devi. She is considered a wrathful manifestation of Saraswati, the goddess of learning, eloquent speech, and music. Another of her manifestation is Chamundi, the consort of Yama.

From the gods she received a mule, whose covering is the skin of a Yaksha or demon. She is always shown seated sideways on this mule.This large fierce Deity exists in an ethereal world of blue ether, or cosmic space, and red and orange flames. The color blue is symbolic of ether or space and here reflects the ultimate reality, voidness, the Truth Body of enlightened beings. Beings enjoying the awareness of this reality are moved only to manifestation by compassion, which is the source of the striking beauty of their forms and surroundings.  Nonetheless, these figures and their settings are gruesome and terrifying in order to project an aura of overwhelming power that will protect practitioners. They work to eradicate unwanted obstructions to the realization of the enlightened mind.

Image is from a Tibetan Buddhist temple wall hanging in tangka form.

JE TSONG KHAPA

JE TSONG KHAPA

Je Tsong Khapa, the Je is an honorific title and means exalted. He is the founder of the Gelupka order, noted by their yellow hats, and after his death became the first Dalai Lama. This came about as his insistence on celibacy within the order and made succession only possible by reincarnation. His hands are in the Dharmachakra, or gesture of Teaching. The dharmachakra symbolizes setting the Dharma wheel in motion. It recognizes the moment when buddha sets moving the wheel instruction that leads to enlightenment. In this gesture, both hands are used: they are held in front of the heart, the thumbs and index fingers of both hands form a circle representing the Dharma and that it is to be taken to heart. There are lotus blossoms next to each shoulder that are being held by his hands.

shakyamuni

SHAKYAMUNI

Shakyamuni is seated in the diamond position, with the right hand in the Bhumisparsha, or gesture of witness or touching the earth, used to summon the earth-goddess Sthavara as witness to his attainment of Buddhahood. The gesture signifies the state of enlightenment reached after meditating under the bodhi tree for 4 weeks and withstanding all the temptation put before him by Mara, the god of evil. In the left hand is the medicine bowl used to heal emotional and physical suffering.

Shakyamuni means the Wise Shakya or sage of the Shakyas. He is the Guatama Buddha, or Siddhartha and died circa 480 B.C. He was petitioned by Indra and Brahma to share his knowledge with humanity, both brought him gifts, Indra a large white conch shell and Brahma a golden wheel of 1000 spokes. He then went south to Sarnath where he gave his 1st teaching, expounding on the 4-noble truths and speaking for the 1st time about nirvana.

Vajrakumara tangka style temple wall hanging

Vajrakumara ~ Vajrakilaya

Vajrakilaya (Skt. Vajrakīlaya; Tib. Dorje Phurba; Wyl. rdo rje phur pa) or Vajrakumara (Skt. Vajrakumāra; Tib. Dorje Shönnu; Wyl. rdo rje gzhon nu) — the wrathful heruka Vajrakilaya is the yidam deity who embodies the enlightened activity of all the buddhas and whose practice is famous for being the most powerful for removing obstacles, destroying the forces hostile to compassion and purifying the spiritual pollution so prevalent in this age. Vajrakilaya is one of the eight deities of Kagyé. The deity representing enlightened activity is Vajrakilaya. In peaceful form, he is Vajrasattva, in semi-wrathful form he is Vajra Vidharana (Tib. Dorje Namjom), in wrathful form he is Vajrapani, and in extremely wrathful form he is Vajrakilaya.

He is shown in terrific union with his wisdom prajnya consort, together they represent the union of wisdom and method, which is active compassion. His 5 skulled crown represents the 5 addictions transmuted into the 5 wisdoms.

Covering his back side is a freshly killed elephant of ignorance. All 6 of his hands are in the Gesture of Banishing. He is the deity of the magic Phurba dagger, a symbol of the sharp point of wisdom fixed immobile on the power of goodness. This archetype has a very specific yogic use and is not merely considered an external deity to be worshiped or manipulated in ritual activities. His unusual form is carefully visualized until the practitioner can imaginatively adopt his form at will, this in turn affects the self image and the central nervous system, opening the yogi's or yogini's sensibility and clearing obstructions to inner energy flows. This allows the attainment of spiritual insights into the deep self and to incorporate powerful energies otherwise locked away in the normally unconscious regions of the mind.

Image is from a Tibetan Buddhist temple wall hanging in tangka form.

Savabuddha or Vajrayogini

Varjayogini or Savabuddha Yogini

Vajrayogini is 16 years old, radiantly beautiful with a youthful freshness and vitality.  16 years old is said to be the height of physical beauty. She has 3 eyes, symbolizing her enlightened ability to see the past, present, and future simultaneously. Her eyes gaze upwards to the Land of the Dakinis, demonstrating that she has the power to to guide serious practitioners directly to the Pure Lands.

In her right hand is a curved flaying knife with vajra handle, and in her left hand she holds a skull-cup filled with blood, as if she were about to drink from it. The objects symbolize  respectively the wisdom that cuts through the fabric of ignorance and the blissful clear-light consciousness that has unified with this penetrating wisdom.

Supported on her left shoulder is a staff known as a Khatvanga. This represents her consort, Heruka Chakrasamvara, indicating that he and Vajrayogini are inseparable, whether he is explicitly visualized together with her or not.  The practices of  Vajrayogini are derived from the Chakrasamvara Tantra and are the distilled essence of that profound neditational system.

Vajrayogini is standing upon Bhairava and Kalarati, as does Chakrasamvara. There are different ways in which these two worldly deities can be understood. According to one, they represent the hatred and attachment that Vajrayogini wisdom has overcome. According to another, they represent the enlightened attributes of Vajrayogini herself, Bhairava symbolizing her method aspect and Kalarati her wisdom. Because Vajrayogini's right leg is itself a symbol of her method and stands upon Kalarati, a symbol of her wisdom, and because the reverse is true with respect to her left leg, Vajrayogini's stance doubly reinforces the union of method and wisdom so vital to the practice of highest yoga tantra.

Tibetan Buddhist Blue Ekajata from a Green Tara tangka

Ekajaṭī or Ekajaṭā, (Sanskrit; Tibetan: ral chig ma. English: One Braid of Hair), also known as Māhacīna-tārā, one of the 21 Taras is one of the most powerful and fierce goddesses of Indo-Tibetan mythology. According to Tibetan legends she is an acculturation of the Bön goddess of heaven, whose right eye was pierced by the tantric master Padmasambhava so that she could much more effectively help him subjugate Tibetan demons. Ekajati is also known as 'Blue Tara'. She is generally considered one of the three principal protectors of the Nyingma lineage, along with Rāhula and Vajrasādhu (Dorje Legpa). She is often depicted with Green Tara as liberator; her ascribed powers are removing the fear of enemies, spreading joy and removing personal hindrances on the path to enlightenment.

This depiction is from a thangka of Green Tara.

White Tara from a Tibetan Buddhist thangka
White Tara is a female bodhisattva who symbolizes compassion. Protecting those who revere her from danger, pain and anxiety, she is the embodiment of motherly love. her right hand is held in the gesture of Protection (abhaya mudra) and in her left hand she holds the stem of a triple lotus flower. She has a third eye on her forehead and eyes on the palms of her hands and the soles of her feet: these eyes symbolize her capacity to know suffering in all regions of the world. (it is up to the individual artist whether to depict the eyes on her palms and soles as canon only demands the third eye on the forehead).
Green Tara thangka hand painted in tibet

Green Tara is the most dynamic emanation of the Tara, her green skin color indicates her relationship to the Buddha family Amoghasiddhi, the Action Family. she is moderately combative, action oriented bodhisattva, called upon when obstacles need to be overcome or when there is danger in overcoming evil. She is revered as a magnificent savior who frees all beings from suffering. She is seen as the Mother of All Three Periods; past, present and future.

She is depicted sitting in a relaxed posture on an ashoka throne, her right leg extended, indicating readiness for action, and her left leg is in the meditation position. The relative positions of her legs symbolize her perfect wisdom, spirituality, and meditation technique. Her left hand holds the stem of a blue lotus flower in the Gesture of Protection, while the right hand is in a gesture indicating the integration of wisdom and spiritual meditation technique in combination with the right leg. The youthful and beautiful Green Tara generates enthusiasm in those who adore her and gives them courage to take action.

 

 

 

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