Scultures of Buddhist Goddesses (1): Tara

Present hoard consists of fifteen specimens of different female Buddhist deities (saktis). First fourteen hold a remarkable post in the recent hoard while the last icon (Reg. No. 1124) of this group belongs to the SRP-19 and was come in light on comparatively late date (25/10/2008). All deities, except Bhrikuti are two handed.

Worship of female deity (Sakti) was introduced in Buddhism in form of goddess Tara (Getty 1914: 120). Her worship in Mahayana Buddhism marks not only the beginning of the tantric rituals but also the advent of new trend of art through it is iconographical presentation around 6^th century A.D. (Johari 1986: 3531). The intimate relationship of tantrism with saktism can be seen in the worship of ten different knowledge (vidya) called Dasmahavidya. Tara is named as second mahavidya (Gupte 1972: 117). Her worship was popular among tantric sect of Mahayana Buddhism.

However, so far as the present hoard is concern only five metal images of Tara have been found. This deity has been depicted in seated pose with graceful appearance either in padmasana or vama laliitasana mudra. Her right hand shows varada mudra and left hand holds an Nilotpala with a long stalk. Her both the attendants as prescribed by the text, i.e., Asokant Marichi and Ekajata are absent in all specimens.

By 7^th century A.D., with open introduction of Sakti worship, Tara was declared to be sakti of Avalokiesvara. She holds a remarkable eminence in Buddhist pantheon. She is a saviour goddess, delivers. She is an emanation and also Sakti of dhyani Buddha Amoghasiddhi. She took two distinct forms–Sweta (White) Tara and Nila (Blue) Tara in 7^th century A.D. In succeeding centuries, her forms increased, making in all 23 Taras. Bhattacharya who has done an integrated work on Buddhist iconography of India, suggests 23 forms of Taras in five groups.

Sadhanamala (Bhattacharya 1925: 17) describes that she should show bearing an effigy of her sire Amoghasiddhi on crown but in present five models not a single specimen fulfils this condition. So it may suggest that these iconographic models of Tara represent an independent group without having connection with any dhyani Buddha, because text does not strictly lay down any definite norms to this effect.