Manifestations of Tārā, Colour Symbolism and Her Association with Uṣṇīṣavijayā

This article is dedicated to the Buddhist saviour-goddess Tārā and discusses the metaphysical grounding and numerous iconographic forms of the deity. The cult of Tārā became widely popular in the Indian religious panorama from the seventh century CE onward under the influence of Vajrayāna practices. The discussion focuses on the evolution of the manifold manifestations of Tārā and her ascendency from the rank of mahāvidyārajñī to the supreme embodiment of universal compassion and as the female consort of the Tathāgatas. The author also explores the underlying theories on colour symbolism, maṇḍalas, and association with other female deities, such as Uṣṇīṣavijayā. Besides, the research outlines the artistic and iconographic trends of Nepal and Tibet and discusses the influence of Pala art through a thorough study of the sculptures and painted images of Tārā produced in various cultural domains and chronological phases. The archaeological data is compared and cross-referenced with primary sources and textual records through a comparative analysis, which highlights the iconographic distinctions found in Himalayan art, as well as integration of Eastern Indian and localized elements. The paper presents a detailed examination of artefacts from the art schools of the Pala period and Himalayan kingdoms of Tibet and Nepal, from the Reserve collection of the National Museum, New Delhi, as a case study.