Report on 2 Guide Groups Discussions of the Green Tara Sculpture
The goddess Tara 1426‐35 Green Tara (Shyamatara) holding a blue lotus China Creation Notes: Ming dynasty, Xuande reign Sculpture, bronze, gold, pigment Technique: cast in the lost wax technique, gilding, painting Primary Insc: A Chinese inscription on the base reads: `Bestowed in the Xuande reign of the Great Ming'. 26.6 h x 16.3 w x 15.0 d cm Purchased 1977
This little gem is a work that many of us may have passed by without much more than a glance. Members of both groups who viewed her knew little about her, but it emerged that Green Tara is a very popular and special goddess. By the end of our time with her, it would be fair to say everyone had become more deeply engaged and had a more responsive appreciation of her.
Who is she? According to Buddhist tradition, Tara was born out of the tears of compassion of the bodhisattva Avalokiteshvara It is said that at the moment of passage to Enlightenment, he wept as he looked upon the world of suffering beings, and his tears formed a lake in which a lotus sprung up. When the lotus opened, the goddess Tara was revealed. He remained as a bodhisattva.
No doubt this explains the numerous lotus flowers with which she is adorned and the twisting stems that entwine her arms. Clearly, she sits on a delicate lotus throne and her right foot rests on its own lotus cushion.
She is the goddess of compassion, protection and healing and is prayed to in times of trouble.
She is able to allay the 8 Great Fears. These involve outer emanations of inner fears: fear of lions (pride); fear of elephants (ignorance); fear of fire (anger); fear of snakes (envy); fear of robbers (wrong views); fear of imprisonment (avarice); fear of floods (attachment); fear of demons (doubt).
No wonder she is in demand!
Report on 2 Guide Groups Discussions of the Green Tara Sculpture
Why “Green” Tara when she is clearly golden? Actually she is gilded over a bronze casting. Made by the lost wax method and decorated after she was cast. That explains perhaps the intricacy, delicateness and detail of her adornment. So much about the figure is exquisitely fine.
Green is the colour of activity and wind. In Tara it is also about balance, harmony, youth, vigour.
The Buddhist Lord of Karma (action), Amoghasiddhi, is also associated with the green color, thus signifying that they belong to the same family of gods. This is a further affirmation that Green Tara is a goddess of action. She is also thought to be his consort.
What about her pose?
Green Tara is depicted in a posture of ease with right leg extended, resting on a lotus cushion, signifying her readiness to spring into action. The left leg is folded in the contemplative position on the lotus pedestal.
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. Her left hand also has the three pointing fingers which indicate the Three Jewels: Buddha/dharma/sangha – all offer refuge and comfort for the Buddhist, along his path through life to Enlightenment. With her right hand she makes the bestowal/ granting gesture. These are sacred mudras.
What about the blue references? Blue Lotus (Skt. utpala; Tib. ut pa la): This is a symbol of the victory of the spirit over the senses, and signifies the wisdom of knowledge.
There are traces of blue paint around the head too. Blue hair is a good sign and as we know from the Blue Buddha, blue is associated with healing and good things.
Where would you find such a small and beautiful sculpture? Temples, prayer halls, altars in wealthy private homes. She would probably be displayed in a slightly elevated position, in a glass case, with other deities. We found her expression changed depending on the angle we viewed her. She looked best when we were looking Report on 2 Guide Groups Discussions of the Green Tara Sculpture
from slightly below her.
What about the Chinese connection? Green Tara began life in India (look at the heavy earrings which are very Indian) but this Buddhist deity of compassion, morphed into female form and was adopted in Tibet, Nepal and China.
Several Chinese emperors worshipped Buddhism and had in their courts Tibetan Lamas, who were granted status there. Inevitably they would have been pointed the emperor to venerate Green Tara and commissioned statues to be made of her. Like this one.
Tibetan and Nepalese artisans worked in the ateliers of the Chinese imperial courts. Notice how this Tara has very Tibetan facial features. Artists followed the descriptions found in the scriptures but often gave statues the features of their own ethnic groups.
Today, Green Tara remains especially popular in the Himalayan regions. There are many images of her in different forms. Tibetan Buddhists prefer to spend more money on her image than any other deity.
How would we use this work in our tours? It was interesting to see the different initial reactions of the 2 groups. One came to the work “cold”, so to speak; The other came from a session with a strongly contrasting focus. Their different initial responses and approaches to the work suggested that how we sequence works in a tour could be relevant to how they are received.
Some felt they would not use it with school groups. The small size would require close examination and this would be difficult with large groups. In addition, too much would need to be explained. It would be hard for students, without background knowledge or information, to come in cold and appreciate it.
Others felt that telling the story of her creation as a catalyst to examining the sculpture could work well with school groups. What is she doing? What is she thinking? Why is she sitting like that?
Most felt that it would appeal more to special interest groups and that we should find ways to appeal more to them.
A test run with the children visiting the gallery was interesting; an 8‐year‐old boy’s first Report on 2 Guide Groups Discussions of the Green Tara Sculpture
response was to the fine details on the work.
Most primary school do not study this geography of history, so would not ask to come to this gallery. Some guides mentioned they would assess potential group interest when passing to the sculpture gallery and they may stop en route in this gallery.
Possible Links ‐ the lotus; the lotus throne; protection – the guardian figures; other Buddhas in the gallery; other gods upstairs
Most agreed it is difficult to include Indian and Asian art in a general tour for both logistics and interest reasons.
More thought and planning is needed to foster visitor interest in these works.
How can we exploit the various works in the Asian collection?
We became aware that the gallery is stark, almost Zen. Some suggested that on certain occasions we could perhaps introduce music and some colour, so as to capture a sense of the temple or cultural settings relevant to the piece. This might provide a context in which to enjoy and respond to the work. This could be appropriate when we give special focus tours.
Communication, planning and organisation across different departments/sections is needed.
Some guides felt that we do not always exploit opportunities that arise e.g. Indian dancers in the foyer could have been followed by a brief tour of selected works. We had an interested and large audience.
Some expressed the need to exploit what else is happening in Canberra, as we are starting to do more with Floriade, but highlighting tours as well as talks.
The showing of the “Dream Window” film on 27 September could be linked with special tours. Maybe we could do floral motifs in Islamic art tours at this time.
Claudia’s presentation on the Buying of the Blue God could be linked to a special tour, thematically built around it.
It was acknowledged that guides might need more professional development to do this. Perhaps working groups of interested guides could examine possibilities and suggest training.
We have an experienced and knowledgeable group who accompanied Claudia to India. These could offer much to the group as a whole.
Report on 2 Guide Groups Discussions of the Green Tara Sculpture
More publicity and marketing would be encouraged to promote the Asian collection.
We could link into National Days; special festivals etc to highlight special works in the collection and publicise this.
Both groups responded positively to the work and felt that it is a pity that there were many such gems that remain in obscurity but could be highlighted.
Shared interest and good ideas were evident yesterday. It is a good foundation to build on.
Thanks Edie for helping us see with new eyes.
Thanks organisers for the opportunity to do so.