In this examination there will be the effort to examine the relation between the Buddhist and Hindu Goddess of Tārā in relation to Hindu goddesses such as Kālī, Durgā and Pārvatī. In a large view the dichotomy development of Kālī and Tārā will be the central point of this investigation, but Durgā and Pārvatī will also be mentioned in an elaborate way.
It will be important to get a connection to the worship of a goddess, allowing the reader to see how specific cults are worshipped in everyday life. There will be the attempt to demonstrate the range and irreducible complexity of feminine cults in Indian tradition, because there is a need to fix older and current researches on goddesses from different regional traditions in a quite valuable way. In order to ensure this development of specific goddesses, we need to focus the attention on the appearance of particular female cults.
There is a need to work with some written sources to investigate the depiction of such cults. That means the examination of several ancient Indian passages and also the delineation of elected sculptures. It needs to be clarified that this kind of operation is the only way to get countable results. But it might be difficult to find ‘early’ images of such goddesses as Kālī and Tārā in order to get a chronological overview. The establishment of a specific cult is linked with a system of some kind of a special myth building phenomenon. We must remember that we are working with legendary cults, text passages, (maybe failed) translations, images, sculptures and modern interpretations to get a survey of an ancient lifetime. In this extraordinary case it is important to understand a myth as an essential component of our (past) communication.
Table of Contents
1. Myths and Cults as important part of the past communication
2. Devī – The great Goddess of the Hindus
3. Tārā in Hinduism – The literary appearance
4. Tārā in Buddhism – The literary appearance
5. Kālī – The literary appearance
6. Durgā and Pārvatī – The Consorts of Śiva
7. The depiction - development of Tārā and Kālī
8. Summary
Research Objectives and Key Topics
This work examines the historical, religious, and iconographic development of female deities in the Indian subcontinent, specifically focusing on the comparative roles and cultic depictions of Tārā and Kālī in relation to Durgā and Pārvatī. It aims to analyze how these goddess cults reflect social changes, the importance of femininity, and the interaction between Buddhist and Hindu traditions.
- Theological and philosophical origins of Devī as the all-encompassing feminine principle.
- Comparative analysis of Tārā's depiction in Buddhist compassion traditions versus Hindu fierce forms.
- Examination of Kālī's role as a symbol of death and dominance compared to other goddesses.
- The influence of socio-religious changes (Indisierung/Gräzisierung) on the formation of cults.
- Iconographic evolution of goddesses from the 5th to the 11th century.
Excerpt from the Book
The depiction - development of Tārā and Kālī
The main Hindu goddesses Kālī and Tārā since the mid 1970s’, increasingly become the subject of scholarly research among the tradition of scientists who deal with the Indian subcontinent. The first reason to mention at this point is the extraordinary work of David Kinsley who found some exciting figures for reflection. On the other hand, those goddesses become famous in feminist and New Age literature as Rachell Fell McDermott explained. Today Tārā is known as an assistant in the emergency and represents the principle of compassion. Kālī is mentioned as the most shocking manifestation of the goddesses and everyone fears her. In this investigation we have already seen that Kālī is also worshipped as ‘mother’ and guardian, whereas Tārā is also known as someone who has a variety of forms, some of which are fierce, even terrifying. This needs a further investigation of how it is related. How is this depiction related to each other? Is this just human natur, isn’t it? At this point we need to deal with the ontology and the dialectics of these goddesses. As we already know, Kālī lives on the cremation ground and is the most terrorizing character of all goddesses. But if we follow the usual known descriptions of Tārā and Kālī, there won’t be any conformities. Tārā is related to life and Kālī is related to death. But as mentioned before, there might be the possibility if these two Indian goddesses are each other’s antagonists or is it possible that they are the same, just with different names? Tārā is usually depicted in regal attire as a young girl, who is playful, handsome, and quite energetic as fig. 12. shows:
Summary of Chapters
1. Myths and Cults as important part of the past communication: Introduces the necessity of reconstructing the importance of femininity in ancient Indian society through the study of goddesses.
2. Devī – The great Goddess of the Hindus: Defines Devī as the ultimate feminine reality and the foundation for all subsequent goddess manifestations in Indian mythology.
3. Tārā in Hinduism – The literary appearance: Explores the etymology and early literary references of Tārā within the Hindu pantheon as a goddess of wisdom.
4. Tārā in Buddhism – The literary appearance: Examines Tārā’s critical role in Tibetan Buddhism and her development as a Bodhisattva representing compassion.
5. Kālī – The literary appearance: Analyzes the iconography of Kālī as the 'black one', associated with destruction, death, and fierce power.
6. Durgā and Pārvatī – The Consorts of Śiva: Discusses the distinct roles of Durgā as an independent warrior and Pārvatī as the devoted consort, contrasted against the independent nature of Tārā and Kālī.
7. The depiction - development of Tārā and Kālī: Compares the iconographic evolution of Tārā and Kālī, questioning their roles as potential antagonists or mirror images of feminine divinity.
8. Summary: Concludes that the emergence of these cults serves as a form of social communication regarding the status and function of women in the Indian subcontinent.
Keywords
Tārā, Kālī, Durgā, Pārvatī, Devī, Buddhism, Hinduism, Mythology, Iconography, Femininity, Shakti, Bodhisattva, Indian subcontinent, Tantrism, Cults.
Frequently Asked Questions
What is the primary focus of this study?
The study focuses on the historical and religious development of goddess cults in India, analyzing their depictions and societal functions.
Which deities are centrally examined?
The primary goddesses analyzed are Tārā and Kālī, with additional discussion on Durgā, Pārvatī, and the overarching concept of Devī.
What is the central research question?
The research explores how the appearance and worship of these specific goddesses reflect social shifts and the importance of femininity in historical India.
What methodology does the author use?
The author employs a comparative analysis of literary texts, ancient passages, iconography, and the theoretical approach of Roland Barthes regarding myths.
What content is covered in the main body?
The main body covers the etymological origins, literary representations, and iconographic developments of these deities from the 5th to the 11th century.
Which keywords define this work?
Key terms include femininity, Shakti, Buddhist/Hindu pantheons, iconography, and myth-building.
How is Tārā viewed differently in Buddhism compared to Hinduism?
In Buddhism, Tārā is a gentle Bodhisattva of compassion, whereas in some Hindu traditions, she is depicted with fiercer, more aggressive traits.
Why is the 11th century significant for the depiction of Tārā?
The 11th century represents a period where stylistic depictions of Tārā became more elaborate, reflecting changing social and religious environments in northern India.
What is the relationship between Kālī and Shiva?
Kālī is often depicted as the fierce, dominant force, sometimes shown dancing or standing upon the prostrate body of Shiva, symbolizing her independent and destructive power.
- Quote paper
- Sebastian Schopp (Author), 2015, The appearance of Buddha Tara and the comparison to Hindu goddesses, Munich, GRIN Verlag, https://www.grin.com/document/463815
