In the seventh century, Tibet made its entrance onto the international political stage. King Songtsen Gampo (617-649) unified Tibet and conquered parts of China and Nepal. He made two important political marriages with princesses from these neighboring countries. Both ladies practiced Buddhism, and therefore Buddhism temporarily gained a solid footing in Tibet. They brought a form of civilization to the then still barbaric Tibet.

Both princesses brought Buddha figures with them to Songtsen Gampo’s court. The Chinese princess Wen-che’ng, a nice of the T’ang emperor, had a gilt figure of Shakyamuni Buddha with her. This jobo was installed in the Jo-khang Temple, Lhasa’s most important shrine.

The princesses practiced Buddhism by doing good deeds. Their ensuing popularity and the fact that both remained childless - therefore pure, contributed to their later being identified with the White and Green Taras. Songtsen Gampo himself was said to be an incarnation of Avalokiteshvara.

According to one legend, Avalokiteshvara once spilled two tears to earth out of pure despair over muddleheaded humanity. Each tear formed a lake in which a lotus grew. When the lotuses opened there was a Tara in the center of each. The tear from his left eye produced the dark-colored Green Tara, the one from his right eye the White Tara. A dark skin tone is often indicated by green. The Chinese princess had a light skin tone; the Nepalese Brikuti was much darker.

Sitatara, or the white Tara, is considered to be a manifestation of Avalokiteshvara. White is the color of purity and therefore she symbolizes immaculacy, and, because of her association with Avalokiteshvara, compassion as well.

The sensuous, ravishing image of White Tara dominates the center of this exquisite painting. With her charming, thin lips pursed, her face displays a benevolent and pleasantly smiling expression which percolates down to her entire demeanor. Colored the color of purity, she adorns a variety of rich jewels and luxurious silk robes, all represent the majesty of the Highest Truth of which she is but an embodiment. Adorning her head is a floral crown, wherein lies an image of Lord Buddha, signifying that she is none other than an incarnation of the Great Buddha himself.

She has seven eyes. Two 'normal' ones, an inverted one on her forehead, two on the palms of her hands, and finally two on the soles of her feet. These symbolize that all her activities are conducted with omniscient awareness. According to Romio Shreshtha:

"Open seven eyes, like Tara, and be sure that everything you do, every step you take, every thought you think, is fueled by compassion. You will then be inseparable from White Tara, the embodiment of pure love."

The worship of White Tara is specifically believed to bestow an immortal life. This trait she shares with Amitayus, the Buddha and Ushnishavijaya, the goddess of longevity. Amitayus can be seen at the bottom left of the painting, while Ushnishavijaya is at the right.

At the top panel can be seen in a clockwise manner Padmasambhava, Buddha, and finally at the right, Tsong Khapa, one of the greatest lamas of Tibet.

Her right hand is always in varamudra, the gesture of offering material and spiritual gifts. In her other hand she holds a blooming lotus.

At the bottom are offerings that represents the five senses. To the left are two cymbals, one mirror, and a silk sash; to the right, a shell out of which incense rises into the air, and fruits. These represent the senses of hearing, seeing, feeling, smelling, and tasting.

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Of Related Interest:

White Tara (Sterling Silver Pendant)

Standing White Chinese Tara (Tibetan Thangka Painting)

White Tara (3 Feet High Brass Sculpture)

White Tara (The Goddess who Grants Longevity) (Copper Sculpture gilded with 24 Karat Gold)