Emerald
Heb. nophek (Ex. 28:18; 39:11); i.e., the "glowing stone", probably the
carbuncle, a precious stone in the breastplate of the high priest. It is
mentioned (Rev. 21:19) as one of the foundations of the New Jerusalem. The name
given to this stone in the New Testament Greek is smaragdos, which means "live
coal."
de·i·ty (d
-t, d
-)
n. pl. de·i·ties
Deity
n : any supernatural being worshipped as controlling
some part of the world or some aspect of life or who is
the personification of a force [syn: divinity, god, immortal]
Goddess Tara, a female Buddha and meditational deity, is arguably the most popular goddess in the Buddhist pantheon. She is considered to be the goddess of universal compassion who represents virtuous and enlightened activity.
The word Tara itself is derived from the root 'tri' (to cross), hence the implied meaning:' the one who enables living beings to cross the Ocean of Existence and Suffering'. Her compassion for living beings, her desire to save them from suffering, is said to be even stronger than a mother's love for her children.
The story of Tara's origin, according to the Tara Tantra, recounts that aeons ago she was born as a king's daughter. A spiritual and compassionate princess, she regularly gave offerings and prayers to the ordained monks and nuns. She thus developed great merit, and the monks told her that, because of her spiritual attainments, they would pray that she be reborn as a man and spread Buddhist teachings. She responded that there was no male and no female, that nothing existed in reality, and that she wished to remain in female form to serve other beings until everyone reached enlightenment, hence implying the shortfall in the monk's knowledge in presuming only male preachers for the Buddhist religion. Thus Tara might be considered one of the earliest feminists.
Another legend of Tara is that she was born from the compassionate tears of Avalokiteshvara (The Buddha of compassion):
"Homage! Tara, swift, heroic! With a glance like flashing
lightning, born from a blooming lotus sprung from the tears on
the face of the Lord of the World!"
... Chapter III, Tara Tantra
The above verse refers to the legend of Tara's origin. Avalokiteshvara was looking down from his heaven on the world of suffering beings, and he wept to see that more and more of them were in pain. From the tears streaming down his face two Taras were born, a peaceful white one from the left and a fierce green one from the right. Tara is thus also often referred to as Avalokiteshvara's consort.
In a historical sense, Tara is associated with the two pious and virtuous wives of Tibet's first great religious king, Songsten Gambo (d. 649). White Tara is associated with his wife from imperial China, Wen Cheng, and Green Tara is identified with Bhrkuti, his Nepalese wife.
To the Buddhists the symbolism of color is of great import. The sadhanas (ancient manuals laying down procedures for worship) are very particular in stipulating the colors of the deities visualized. This color is intended not only to unfold the nature of the deity represented but also to indicate the functions to be performed by that deity. Specifically colors are used in the paintings under a definite mystic scheme, based on the psychic experiences of the sadhaka (worshipper).
No wonder then that her devotees visualize Tara in a myriad variety of colors:
'Some have a vision of you (Tara) as red as the sun with rays
more brilliant and red than the lac and the vermilion. Others see
you blue like the sapphire. Some again see you whiter than the
milk churned out of the milky ocean. Still others see you golden.
Your visva-rupa is like a crystal which changes its color with
the change of the things around it.'
... Arya-Tara-sragdhara-stotra
The most popular of all the known forms of Tara are the widely worshipped Green and White Taras. It is believed that the first artists modeled Green Tara on a young virgin, and the White Tara on a physically mature, voluptuous woman. Thus traditionally whereas the Green Tara is visualized as young girl having a mischievous and playful nature, the White Tara is represented as a mature woman, full-breasted and wise. This tradition survives to the present times.
Green Tara is Tara's most dynamic manifestation. Her color symbolizes youthful vigor and activity. The Buddhist Lord of karma (action), Amoghasiddhi, is also associated with the green color, thus signifying that they belong to the same family. This is a further affirmation of the perception that Green Tara is a goddess of action.
She is often depicted in a posture of ease with right leg extended, signifying her readiness to spring into action. The left leg is folded in the contemplative position on the lotus pedestal, the two together thus symbolizing the integration of wisdom and art.
Her left hand, in the gesture of granting refuge holds the stem of a blue lotus that floats over her left shoulder as a symbol of purity and power. With her right hand she makes the boon-granting gesture.
On a lotus seat, standing for realization of voidness,
(You are) the emerald-colored, one-faced, two-armed Lady
In youth's full bloom, right leg out, left drawn in,
Showing the union of wisdom and art - homage to you!
Like the outstretched branch of the heavenly turquoise tree,
Your supple right hand makes the boon- granting gesture,
Inviting the wise to a feast of supreme accomplishments,
As if to an entertainment-homage to you!
Your left hand gives us refuge, showing the Three Jewels;
It says, "You people who see a hundred dangers,
Don't be frightened-I shall swiftly save you!"
Homage to you!
Both hands signal with blue blue utpala flowers,
"Samsaric beings! Cling not to worldly pleasures.
Enter the great city of liberation!"
Flower-goads prodding us to effort-homage to you!
... First Dalai Lama (1391-1474)
In visual arts she is shown as resembling an exceptionally lovely human being in everything but the color of her skin and the splendor of her ornaments. The slender, long proportioned body of the goddess is shown dusky olive green in color and her coloring reverberates against the striped cushion of her throne back. The painting technique itself is extremely refined, the pigment flat and thin, and it does not emphasize linear outlining except in the most subtle way. The mysterious and intriguing nature of Green Tara is marvelously captured in the medium of painting by the ingenious blending of the typical iconographical setting with the color scheme.
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