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Tārā’s name is a causative derivation from the Sanskrit root √tṝ (“to cross”), meaning “to cause to cross,” i.e., “to rescue.”
In her PhD dissertation, Rachael Stevens (2010) provides a comprehensive introduction to the goddess Tārā via a literary review (pp. 11–21) and an exploration of the history of Tārā worship (pp. 20–45), the Tārā pantheon (pp. 46–56) and key Buddhist texts relating to Tārā (pp. 57–62).
Beyer 1978, pp. 5–6. We find this episode in Butön Rinchen Drup’s History of Buddhism (Obermiller 1932, vol. 2, p. 184) and dramatized in Sonam Gyaltsen’s The Clear Mirror (Sonam Gyaltsen 1996, pp. 124–27).
The Denkarma (ldan dkar ma) catalog of early translations, for example, lists only two works dedicated to Tārā that were translated during this time. Following Herrmann-Pfandt’s edition (2008), these are no. 439: ’phags pa lha mo sgrol ma’i mtshan brgya rtsa brgyad pa (Tāradevīnāmāṣṭaśataka, Toh 728) and no. 454: ’phags pa lha mo sgrol ma ’jigs pa thams cad las sgrol bar bstod pa (according to Herrmann-Pfandt, the identification of this title remains uncertain). One could further include no. 388: ’phags pa spyan ras gzigs kyi yum (Avalokiteśvaramātādhāraṇī, The Dhāraṇī “The Mother of Avalokiteśvara”), which does not mention the goddess Tārā but was nevertheless included within the Degé Kangyur section of Tārā-related scriptures (Toh 724–731) as Toh 725.
This text, Toh 1001, and all those contained in this same volume (gzungs, waM), are listed as being located in volume 101 of the Degé Kangyur by the Buddhist Digital Resource Center (BDRC). However, several other Kangyur databases—including the eKangyur that supplies the digital input version displayed by the 84000 Reading Room—list this work as being located in volume 102. This discrepancy is partly due to the fact that the two volumes of the gzungs ’dus section are an added supplement not mentioned in the original catalog, and also hinges on the fact that the compilers of the Tōhoku catalog placed another text—which forms a whole, very large volume—the Vimalaprabhānāmakālacakratantraṭīkā (dus ’khor ’grel bshad dri med ’od, Toh 845), before the volume 100 of the Degé Kangyur, numbering it as vol. 100, although it is almost certainly intended to come right at the end of the Degé Kangyur texts as volume 102; indeed its final fifth chapter is often carried over and wrapped in the same volume as the Kangyur dkar chags (catalog). Please note this discrepancy when using the eKangyur viewer in this translation.
Toh 731, ’phags ma sgrol ma ’jigs pa brgyad las skyob pa’i mdo. See translation in Samye Translations, Tārā Who Protects from the Eight Dangers, 2020.
This can be translated as “Homage to the Three Jewels! Homage to Noble Avalokiteśvara, the bodhisattva mahāsattva, the great compassionate one!”
As noted above, tārā is a causative derivation from the Skt. root √tṝ, “to cross,” thus meaning “to cause to cross,” that is, “to deliver” or “rescue.” It can be argued that the term tuttāre consists of tārā prefixed with ud (ud + √tṝ = uttārā), which is then further prefixed with the consonant t- to avoid a morphological fusion of final vowel of tāre and the initial vowel in uttārā. The addition of the prefix ud conveys a sense of “pulling up,” and thus “saving.” In the translation below, the vocative forms tāre and tuttāre are respectively translated as “deliverer” and “savior.”
This can be tentatively translated as “Oṁ! Deliverer! Savior! Swift One! Crush, paralyze, confound, restrain all wicked and evil beings for me! hūṁ hūṁ hūṁ phaṭ phaṭ phaṭ! Homage to Tārā, the suppressor of all evil beings!”
The Indian master Atiśa Dīpaṅkaraśrījñāna (982–1054) is renowned in the history of Tibetan Buddhism for coming to Tibet and revitalizing Buddhism there during the early eleventh century.
One of the “eight close sons of the Buddha,” he is also known as the bodhisattva who embodies compassion. In certain tantras, he is also the lord of the three families, where he embodies the compassion of the buddhas. In Tibet, he attained great significance as a special protector of Tibet, and in China, in female form, as Guanyin, the most important bodhisattva in all of East Asia.
According to Tibetan historical sources, the Nepalese princess who married the Tibetan king Songtsen Gampo. She is believed to have arrived in Tibet in either 632 or 634.
The term dhāraṇī has the sense of something that “holds” or “retains,” and as such can refer to the special capacity of practitioners to memorize and recall detailed teachings. It can also refer to a verbal expression of the teachings—an incantation, spell, or mnemonic formula that distills and “holds” essential points of the Dharma and is used by practitioners to attain mundane and supramundane goals. The same term is also used to denote texts that contain such formulae.
617–650; a famous king from Tibet’s Imperial Period.
A goddess whose name can be translated as “Savior.” She is known for giving protection and is variously presented in Buddhist literature as a great bodhisattva or a fully awakened buddha.
A form of Tārā, the Buddhist goddess of compassion, commonly depicted as golden yellow in color, with four faces and eight arms.
sgrol ma’i gzungs [The Dhāraṇī of Tārā]. Toh 729, Degé Kangyur vol. 94 (rgyud, tsha), folio 222.a.
sgrol ma’i gzungs [The Dhāraṇī of Tārā]. Toh 1001, Degé Kangyur vol. 101 (gzungs, waM), folio 160.a.
sgrol ma’i gzungs. bka’ ’gyur (dpe bsdur ma) [Comparative Edition of the Kangyur], krung go’i bod rig pa zhib ’jug ste gnas kyi bka’ bstan dpe sdur khang (The Tibetan Tripitaka Collation Bureau of the China Tibetology Research Center). 108 volumes. Beijing: krung go’i bod rig pa dpe skrun khang (China Tibetology Publishing House), 2006–2009, vol. 94, pp. 592–93.
sgrol ma ’jigs pa brgyad las skyob pa [Tārā Who Protects from the Eight Dangers]. Toh 731, Degé Kangyur vol. 94 (rgyud, tsha), folios 222.b–224.b. English translation in Samye Translations (2020).
spyan ras gzigs yum gi gzungs (Avalokiteśvaramātādhāraṇī). Toh 725, Degé Kangyur vol. 94 (rgyud, tsha), folios 200.b–202.a; Toh 909, Degé Kangyur vol. 100 (gzungs, e), folios 240.a–241.b. English translation in Samye Translations (2021).
pho brang stod thang ldan dkar gyi chos kyi ’gyur ro cog gi dkar chag [Denkarma]. Toh 4364, Degé Tengyur vol. 206 (sna tshogs, jo), folios 294.b–310.a.
lha mo sgrol ma’i mtshan brgya rtsa brgyad pa (Tāradevīnāmāṣṭaśataka). Toh 728, Degé Kangyur vol. 94 (rgyud, tsha), folios 219.a–222.a.
Bhattacharyya, Benoytosh, ed. The Sādhanamālā Vol I. Calcutta: Baptist Mission Press, 1925.
Butön Rinchen Drup (bu ston rin chen grub). “sgrol ma ’jigs pa brgyad skyob kyi sngags.” In gsung ’bum rin chen grub [Collected Works], vol. 16 (ma), folio 218.b. Lhasa: zhol par khang, 2000.
Beyer, Stephan. The Cult of Tārā: Magic and Ritual in Tibet. Berkeley: University of California Press, 1978.
Herrmann-Pfandt, Adelheid. Die lHan kar ma: ein früher Katalog der ins Tibetische übersetzten buddhistischen Texte. Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 2008.
Landesman, Susan. “Goddess Tārā: Silence and Secrecy on the Path to Enlightenment.” Journal of Feminist Studies in Religion 24, no. 1 (Spring 2008): 44–59.
Samye Translations, trans. Tārā Who Protects from the Eight Dangers (Toh 731). 84000: Translating the Words of the Buddha, 2020.
Samye Translations, trans. The Dhāraṇī “The Mother of Avalokiteśvara” (Avalokiteśvaramātādhāraṇī, Toh 725, 909). 84000: Translating the Words of the Buddha, 2021.
Obermiller, Eugéne, trans. and ed. History of Buddhism (Chos ḥbyung) by Bu-ston. Vol. 2, The History of Buddhism in India and Tibet. Materialien zur Kunde des Buddhismus 19. Heidelberg: O. Harrassowitz, 1932.
Samye Translations, trans. The Hundred and Eight Names of the Goddess Tārā (Toh 728). 84000: Translating the Words of the Buddha, 2022.
Sonam Gyaltsen. The Clear Mirror: A Traditional Account of Tibet’s Golden Age. Translated by Taylor McComas. Ithaca, NY: Snow Lion, 1996.
Stevens, Rachael. “Red Tārā: Lineages of Literature and Practice.” PhD diss., Oxford University, 2010.
The Dhāraṇī of Tārā is a short dhāraṇī that invokes the goddess Tārā, seeking her intervention in the face of obstacles and negative forces.
Translated by Samye Translations under the guidance of Phakchok Rinpoche. The translation and introduction were produced by Stefan Mang and reviewed and edited by Ryan Conlon.
The translation was completed under the patronage and supervision of 84000: Translating the Words of the Buddha.
The Dhāraṇī of Tārā is a short recitation formula that invokes the deity Tārā for the purpose of dispelling obstacles and pacifying negative forces. As suggested by her name, which can be translated as “Savior,” Tārā is revered as a deity who quickly responds in the face of worldly and spiritual dangers, and she is commonly invoked for this purpose by diverse communities of Buddhists.
The worship of Tārā in India can be traced back to at least the sixth century, and since that time the goddess has gained increasingly important status in the Buddhist pantheon. Tibetan histories recount that the worship and practice of Tārā was introduced to Tibet as early as the seventh century via a sandalwood statue brought by the Nepalese princess Bhṛkutī as dowry for her marriage to the Tibetan king Songtsen Gampo. While a few texts dedicated to Tārā were translated in the following centuries, it is believed that the worship of Tārā did not take firm root in Tibet until the eleventh century, when it was actively promoted by Atiśa.
The Dhāraṇī of Tārā begins with an homage to the Three Jewels and Avalokiteśvara. This is followed by the main dhāraṇī, which was not translated into Tibetan but preserved in transliterated Sanskrit. The Tibetan text lacks a colophon, so the Tibetan translators and editors of the dhāraṇī remain unidentified.
As cataloged in the Degé Kangyur, this dhāraṇī is part of a cycle of eight Kriyātantra (bya rgyud) texts (Toh 724–731) dedicated to Tārā. The same formula recorded in The Dhāraṇī of Tārā is also included in Tārā Who Protects from the Eight Dangers, a number of Tengyur texts dedicated to Tārā, and Butön Rinchen Drup’s (bu ston rin chen grub, 1290–1364) Dhāraṇī Collection (gzungs bsdus) from his Collected Works (gsung ’bum). The dhāraṇī appears to be the main dhāraṇī of the form of Tārā known as Vajratārā, as confirmed by its use in sādhanas dedicated to Vajratārā preserved in the Tengyur and the Sādhanamālā. It is not known if the dhāraṇī circulated independently, or if it was extracted and preserved separately as The Dhāraṇī of Tārā because of its prestige and widespread incorporation into other texts and practice manuals.
The transcription and translation of the dhāraṇī below takes the Degé Kangyur as the primary witness, which was compared with versions recorded in other Kangyur collections, as well as the above-mentioned Tibetan and Sanskrit sources.
Homage to the Three Jewels!
namo ratnatrayāya | nama āryāvalokiteśvarāya bodhisattvāya mahāsattvāya mahākāruṇikāya |
tad yathā | oṁ tāre tuttāre ture sarvaduṣṭapraduṣṭān mama kṛte jambhaya stambhaya mohaya bandhaya hūṁ hūṁ hūṁ phaṭ phaṭ phaṭ sarvaduṣṭastambhani tāre svāhā |
This concludes “The Noble Dhāraṇī of Tārā.”
The Dhāraṇī of Tārā is a short dhāraṇī that invokes the goddess Tārā, seeking her intervention in the face of obstacles and negative forces.
Translated by Samye Translations under the guidance of Phakchok Rinpoche. The translation and introduction were produced by Stefan Mang and reviewed and edited by Ryan Conlon.
The translation was completed under the patronage and supervision of 84000: Translating the Words of the Buddha.
The Dhāraṇī of Tārā is a short recitation formula that invokes the deity Tārā for the purpose of dispelling obstacles and pacifying negative forces. As suggested by her name, which can be translated as “Savior,” Tārā is revered as a deity who quickly responds in the face of worldly and spiritual dangers, and she is commonly invoked for this purpose by diverse communities of Buddhists.
The worship of Tārā in India can be traced back to at least the sixth century, and since that time the goddess has gained increasingly important status in the Buddhist pantheon. Tibetan histories recount that the worship and practice of Tārā was introduced to Tibet as early as the seventh century via a sandalwood statue brought by the Nepalese princess Bhṛkutī as dowry for her marriage to the Tibetan king Songtsen Gampo. While a few texts dedicated to Tārā were translated in the following centuries, it is believed that the worship of Tārā did not take firm root in Tibet until the eleventh century, when it was actively promoted by Atiśa.
The Dhāraṇī of Tārā begins with an homage to the Three Jewels and Avalokiteśvara. This is followed by the main dhāraṇī, which was not translated into Tibetan but preserved in transliterated Sanskrit. The Tibetan text lacks a colophon, so the Tibetan translators and editors of the dhāraṇī remain unidentified.
As cataloged in the Degé Kangyur, this dhāraṇī is part of a cycle of eight Kriyātantra (bya rgyud) texts (Toh 724–731) dedicated to Tārā. The same formula recorded in The Dhāraṇī of Tārā is also included in Tārā Who Protects from the Eight Dangers, a number of Tengyur texts dedicated to Tārā, and Butön Rinchen Drup’s (bu ston rin chen grub, 1290–1364) Dhāraṇī Collection (gzungs bsdus) from his Collected Works (gsung ’bum). The dhāraṇī appears to be the main dhāraṇī of the form of Tārā known as Vajratārā, as confirmed by its use in sādhanas dedicated to Vajratārā preserved in the Tengyur and the Sādhanamālā. It is not known if the dhāraṇī circulated independently, or if it was extracted and preserved separately as The Dhāraṇī of Tārā because of its prestige and widespread incorporation into other texts and practice manuals.
The transcription and translation of the dhāraṇī below takes the Degé Kangyur as the primary witness, which was compared with versions recorded in other Kangyur collections, as well as the above-mentioned Tibetan and Sanskrit sources.
Homage to the Three Jewels!
namo ratnatrayāya | nama āryāvalokiteśvarāya bodhisattvāya mahāsattvāya mahākāruṇikāya |
tad yathā | oṁ tāre tuttāre ture sarvaduṣṭapraduṣṭān mama kṛte jambhaya stambhaya mohaya bandhaya hūṁ hūṁ hūṁ phaṭ phaṭ phaṭ sarvaduṣṭastambhani tāre svāhā |
This concludes “The Noble Dhāraṇī of Tārā.”