Mahavidya Tara

24.1. In the group of the Mahavidyas, Tara comes next to Kali. Tara closely resembles Kali
in appearance. And just as Kali, Tara too displays gentle (saumya) or fierce (ugra) aspects.
She was a prominent goddess well before the Mahavidya cult came into being. Tara has a
much wider presence outside the Mahavidya periphery, especially in the Tantric traditions
of both Hinduism and Tibetan Buddhism. The Tantra regards Tara as potent as Kali. Tara
also figures in Jainism. In Vaishnava lore Tara was one of the goddess who fought along
with Durga to defeat the thousand-headed Ravana.
24.2. In all the three traditions, Tara the blue goddess is a guide and a protector; and helps
to tide over the stormy sea of troubles and turmoil of life (Samsara-tarini). She is Tarini,
deliverer or savior, one who saves guides and transports to salvation.Tara is the deity of
accomplishments and is often propitiated by business persons for success.

24.3. Tara is associated with the speaking prowess. And, some texts equate Tara to
Sarasvathi the goddess of learning; and call her Neela (blue) Sarasvathiseated on a lotus.
As she is the goddess of speech, she is related to breathe that manifests sound. Breath is the
primal sound of life. Breath in which the sound originates is the carrier (transporter
Tarini) of knowledge conveyed through the sound of speech. Tara is the un-manifest speech
that resides in breath and consciousness.

24.4. In contrast to the Buddhist Tara who is described as a benevolent, compassionate,

gentle and spirited young woman, eager to help and to protect, Tara as Mahavidya is a
rather fearsome goddess striking terror. She is also moody and harmful. But at times, TaraMahavidya can also be benevolent and compassionate.

25.1. Tara is described as seated in the pratyalidha asana on the chest of a corpse stretched
on a white lotus; she is supreme and laughing horribly; holding cleaver, blue lotus, dagger
and bowl; uttering the mantra Hum. She is of deep blue color; her hair is braided with
serpents, she is the Ugratara. Her tongue is always moving. Her forehead is decorated with
ornaments made of bones. She bestows magical powers.A noticeable feature of Taras
iconography is the halo of light that surrounds her head. And, rising above her head is the
ten headed serpent Akshobhya (the unperturbed or unshakable) symbolizing her yogic
powers.
25.2.Between Kali and Tara there are some similarities as also some differences. As said
earlier, Taras physical appearance resembles that of Kali. Like Kali, she has three bright
red eyes; has four hands holding sword or head chopper, a scissors, a severed head and a
lotus; wears the garland of skulls; is richly is bejeweled and has snakes for ornaments;
dances on a corpse. Both Kali and Tara are strongly associated with death and dissolution;
both stand upon inert male figure. And, both are associated with Shiva. Brahaddharma
purana mentions Tara as representing time, just as does Kali. Whereas Kali is the power of
time (kala) that inexorably causes all created things to perish, Tara is associated with fire,
and particularly the fires of the cremation ground.
25.3. There are also differences in the depiction of the two goddesses. Tara's complexion is
blue whereas Kali's can be black or deep blue. Tara holds a bowl made from a scull in one
hand, a pair of scissors in another, a blue lotus in the third hand and an axe in the fourth.
The scissors and sword in the hands of Tara are tools to remove the ego, the sense of
mistaken identity that defines, limits, and binds. They are not weapons of death and
destruction. Tara is draped in tiger skin around her waist; and is not naked unlike Kali
who symbolizes absolute freedom. Unlike Kali, whose hair flows loose and wild, Taras hair

of tawny color is carefully bunched into a topknot (jata). Whereas Kalis hair represents
absolute freedom from constraint, Taras is a symbol of yogic asceticism and restraint. Kali
represents the highest form of wisdom or liberating knowledge; and Tara is related to the
discipline of yogic practices.
Pratyalidhapade Ghore Mundalamala Pasovite
Kharve Lambodari Bhime Ughratara Namostu Te

Om Hreem Streem Hum Phat