Tara is one of the most popular female deities in Tibetan culture. She is particularly associated with protecting from a group of calamities known as the Eight Fears, depicted here as scenes surrounding her: ghosts/sickness (bottom center), drowning (center), fire (mid-left), false imprisonment (bottom right), bandits (top right), wild elephants (top), snakes (bottom left), and lions (top left). Although these dangers center on the worries of secular life, they also have a more esoteric meaning, namely associations with inner obstacles that prevent spiritual progress.This painting exemplifies the “Khamri,” style of southeastern Tibet. Khamri paintings feature deep blues and greens in the landscape with thicker applications of pigment than other local styles. Some elements, such as the bluegreen crags to the main figure’s right and the flowers and leaves beneath her lotus seat, derive from the parent New Menri style in central Tibet out of which this tradition grew. However, other elements, such as the sky fading into blank canvas and the depiction of the clouds back-shaded with indigo are not found in central Tibet, but rather are regional characteristics borrowed from the other major local painting style. One hallmark of this Khamri style is the dramatic twisting rainbow lights seen in the scene at the upper right.

Artwork Details

Title
Tara Protecting from the Eight Fears
Dimensions
26 3/8 × 18 in. (estimated)
Medium
Pigments on cloth
Origin
Kham Province, Eastern Tibet
Classification(s)
paintings
Date
19th century
Credit Line
Rubin Museum of Himalayan Art, gift of the Shelley and Donald Rubin Foundation
Object number
F1997.15.1
Bibliography
HAR Number
237
Published references
  • David P. Jackson, The Place of Provenance: Regional Styles in Tibetan Painting (Rubin Museum of Art, 2012), 23, 26, 93-95, 98, fig. 2.3, 5.7, back cover.
  • J. Van Alphen, Collection Highlights: Rubin Museum of Art (Rubin Museum of Art, 2014), 56-57, 175.
  • David P. Jackson, The Nepalese Legacy in Tibetan Painting (Rubin Museum of Art, 2010), 5, 8, fig. 1.9.
  • Marylin M. Rhie and Robert A. F. Thurman, Worlds of Transformation: Tibetan Art of Wisdom and Compassion (Tibet House, 1999), 92, 205, 207, fig. 9, cat. 38.
  • J. Malcolm Shick, Where Corals Lie: A Natural and Cultural History (Reaktion Books Ltd., 2018), 158-159.
Rights & Reproductions:
  • Permission for use of digital image by Malcolm Shick in their publication: Where Corals Lie (R&R-Shick_08-01-2017 Attached)

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Liberation

Concepts

The central goal of Buddhism is the liberation of all beings from suffering and the cycle of life, death, and rebirth, known as samsara, through applying the teachings of the Buddha.

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Fear

Concepts

One of the main sources of suffering in the endless cycle of death and rebirth known as samsara. Buddhists regard offering protection from fear as an act of compassion or form of giving.

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Gender

Concepts

In Buddhism gender is considered more fluid compared to some other religions. Certain traditions emphasize the importance of all genders in achieving enlightenment. The feminine is considered an embodiment of wisdom and the masculine is an embodiment of method.

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Female Deities

Figure Type

Female bodhisattvas and tantric deities embody specific enlightened qualities such as wisdom, power, and protection, and can be peaceful or wrathful in appearance.

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Tibetan Regions

Region

Today, Tibetans primarily inhabit the Tibetan Plateau, situated between the Himalayan mountain range and the Indian subcontinent to the west, Chinese cultural regions to the east, and Mongolian cultural regions to the northeast. During the 7th to 9th century, Tibetan rulers expanded their empire across Central Asia, and established Buddhism as the state religion.

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