Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This Tārā Sādhana provides a technical manual for the ritual generation and propitiation of the deity Tārā. The text guides the practitioner through a complex process of visualization and somatic engagement, beginning with the manifestation of the seed syllable Tāṃ and the construction of a mandala featuring moon discs and seed syllables. It commits the reader to a rigorous discipline of mudrā performance and mantra recitation, specifically linking physical gestures to the protection of samaya and the realization of the mind's role in conventional and ultimate dharmas. The work integrates elements of the five Buddha families and the four immeasurables, framing the ritual as a means to transform the practitioner's identity into that of the deity. By detailing specific counts for retreat and the application of different mantra variations for pacifying activities, the text functions as a comprehensive guide for attaining siddhi and the welfare of sentient beings through the synthesis of visualization, sound, and gesture.
Provenance
About this text
A ritual manual for the propitiation of the deity Tārā, the Tārāsādhana belongs to the genre of sādhana and is situated within the Other Wisdom Tantras collection. The work is attributed to the Indian author Nāgārjuna. It was translated into the Tibetan language by Dharmavajra and bod kyi rdo lo tsa ba dge slong dar ma rin chen, and is preserved in the Tengyur, volume ཤ, where it extends over nine pages. In the classical Tibetan tradition, the work is known as the sgrol ma'i sgrub thabs. The text enacts a detailed process of visualization and ritual generation, guiding the practitioner to visualize the seed syllable Tāṃ and its transformation into a blue utpala flower, alongside the construction of a moon maṇḍala and the manifestation of figures such as the white Prajñāpāramitā. By detailing the arrangement of seed syllables and the use of light rays to invite buddhas and bodhisattvas, the work provides a technical framework for achieving the supreme state of nirvāṇa. A scholar or serious reader consults this edition today to examine the precise somatic and meditative instructions used to transform the practitioner's perception through the visualization of colors, syllables, and deities.
Sanskrit title
Tārāsādhana
Indian author
Nāgārjuna
Tibetan translators
Dharmavajra, bod kyi rdo lo tsa ba dge slong dar ma rin chen
The work is significant as it exemplifies the Indo-Tibetan synthesis of deity yoga, where the body is treated as a ritual instrument to realize non-dual awareness. For the modern reader, it illustrates the precise intersection of semiotics (syllables), geometry (mandalas), and physiology (mudrās) in Vajrayāna praxis.
Structure
Passages
Section
Description
1-4
Ritual Generation and Offerings
Initial homage, visualization of the seed syllable Tāṃ, construction of the mandala, and the performance of sensory offerings.
5-6
Somatic Praxis and Mudrās
Detailed instructions on the crown and secret mudrās and their philosophical purpose regarding samaya and the nature of dharmas.
7-8
Siddhi and Application
Guidelines on retreat counts, the use of pacifying mantras, and the visualization of primordial wisdom nectar.
9-11
Iconographic Symbolism
Exegesis on the symbolic meaning of the deity's attributes, the roles of associated figures like Vārāhī and Mārīcī, and their relation to the five Buddha families.
12
Self-Generation
The final stage of instantaneously generating oneself as the principal deity and inviting the wisdom circle.
Themes
Deity Yoga and Self-Transformation (2, 12)
Somatic Ritualism (Mudrā and Mantra) (4, 5, 6)
Symbolism of the Five Buddha Families (9, 10, 11)
The Nature of Mind and Samaya (6)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Tārāsādhanam. In the language of Tibet: Sgrub thabs (Sādhana) of Tārā. Homage to the Venerable Tārā!
Having abandoned all the sufferings of all sentient beings in saṃsāra, she bestows the supreme state of nirvāṇa, just as one is pulled from water onto dry land. Having prostrated to the Venerable Lady, I shall write this sādhana. Among other sādhana methods, this is the most supreme.
In a place that is pleasing to the mind, having performed ablutions, sit upon a comfortable seat. Instantly generate yourself as the Venerable Lady. At her heart, upon a multicolored lotus and a moon disc, visualize a green syllable Tāṃ. From the Tāṃ, light rays radiate to the ten directions, inviting the Buddhas, Bodhisattvas, Gurus, and the Venerable Lady. Prostrate to them and present offerings with "Oṃ vajra puṣpe āḥ hūṃ" and so forth. Then, perform the confession of misdeeds, rejoicing in merit, requesting the turning of the wheel of Dharma, beseeching them not to pass into nirvāṇa, taking refuge in the Three Jewels, generating the bodhicitta, and dedicating the roots of virtue.
Following that, meditate on the four immeasurables: love, compassion, joy, and equanimity. After that, recite "Oṃ śūnyatā-jñāna-vajra-svabhāvātmako ’haṃ." From the state of emptiness, visualize a red syllable Paṃ. From its complete transformation, a multicolored lotus appears. Upon that, from the complete transformation of a white syllable A, a moon maṇḍala arises.
Above that, visualize a green syllable Tāṃ. From it, light rays radiate to the ten directions, inviting all the buddhas and bodhisattvas, who then dissolve back into the Tāṃ, transforming it into a white drop (bindu). That drop completely transforms into a blue utpala flower. Above that, visualize a white syllable A. From its complete transformation, visualize a moon maṇḍala. Above that, visualize a green syllable Tāṃ. Light radiates from the Tāṃ, performing the benefit of sentient beings, and all sentient beings become the nature of Tārā. The light rays then gather back and dissolve into the Tāṃ, which, together with the utpala and the lotus maṇḍala, completely transforms: one should meditate on oneself as the Venerable Tārā, green in color, with one face and two hands. Her right hand is in the gesture of supreme generosity (varada), and her left holds an utpala. She stands with her right leg extended and her left drawn in, adorned with all ornaments, appearing like a sixteen-year-old.
Then, on the four petals of the lotus in the four directions, four white syllables A completely transform into four moon maṇḍalas. Then, from four light rays radiating from one's own navel, there appear in the east a white [light], in the south a yellow, in the west a red, and in the north a black. From the complete transformation of these four, they become four syllables: in the east a white Oṃ, in the south a yellow Tā, in the west a red Re, and in the north a black Tu. From the complete transformation of these, there appear in the east a white lotus, in the south a yellow aśoka tree, in the west a red lotus, and in the north a black curved knife (kartṛ).
Upon those four hand symbols, four white As completely transform into four moon maṇḍalas. Upon these, in the east is a white Oṃ, in the south a yellow Tā, in the west a red Re, and in the north a black Tu. From the complete transformation of the hand symbols and the moon seed-syllables:
In the east is Prajñāpāramitā, white in color, with one face, two arms, and three eyes, seated in the vajraparyaṅka posture. Her right hand holds a precious jewel, and her left holds a yellow precious vase upon a white lotus.
In the south is Mārīcī, yellow in color, with one face, two arms, and three eyes, seated in the vajraparyaṅka posture. Her right hand holds a vajra, and her left holds a yellow aśoka tree.
In the west is Vārāhī, red in color, with one face, two arms, and a sow’s face, with three eyes, seated in the vajraparyaṅka posture. Her right hand holds a red lotus, and her left is in the gesture of meditative equipoise.
In the north is Ekajaṭī, black in color, with a wrathful face, one face, two arms, and three eyes. Her right hand holds a curved knife (kartṛ), and her left holds a skull-cup filled with blood. She wears a lower garment of tiger skin and sits in the vajraparyaṅka posture.
Then, from the heart of the principal goddess, upon a multicolored lotus, is a moon maṇḍala. Upon that is a green Tāṃ. Light rays radiate from it, inviting the five wisdom deities in their essential nature. Having arrived in the space before you, present them with offerings.
To offer the argha water: Oṃ āḥ hūṃ arghaṃ pratīccha svāhā.
To offer the flowers: Oṃ āḥ hūṃ puṣpaṃ pratīccha svāhā.
OṂ ĀḤ HŪṂ DHŪPAṂ PRATĪCCHA SVĀHĀ. OṂ ĀḤ HŪṂ DĪPAṂ PRATĪCCHA SVĀHĀ. OṂ ĀḤ HŪṂ GANDHAṂ PRATĪCCHA SVĀHĀ. OṂ ĀḤ HŪṂ NAIVIDYAṂ PRATĪCCHA SVĀHĀ. Having made these offerings, form the utpala mudrā at the heart and perform the summoning, entering, binding, and pleasing with the syllables JAḤ HŪṂ BAṂ HOḤ. Then, from the green syllable TĀṂ upon a multicolored lotus and moon maṇḍala at one’s own heart, light rays radiate forth, inviting all the buddhas and bodhisattvas of the ten directions. As they arrive, holding precious vases filled with nectar in their hands, one should present offerings to them as before. Reciting ABHIṢIÑCATU MĀṂ SARVA TATHĀGATĀ, one should visualize that they confer empowerment by pouring water from vases filled with nectar. Regarding the crowning by the lords of the families: Amoghasiddhi is at the crown of the Principal Lady; Vairocana is for Prajñāpāramitā; Ratnasambhava is for Mārīcī; Amitābha is for Vārāhī; and Akṣobhya is the crown for Ekajaṭā. Then, for the blessing of the body, speech, and mind: visualize a white OṂ upon a moon maṇḍala at the crown, a red ĀḤ upon a red lotus at the throat, and a black HŪṂ upon a sun maṇḍala at the heart. One should then bless the Principal Lady herself; it is not necessary for the retinue. Next, one should bind the mudrās at the eight locations, where there are eight moon maṇḍalas at those eight locations.
Above that, there are eight syllables, which are white in color. Forming two fists, place the two thumbs on top of the index fingers and touch them to the crown of the head while reciting Oṃ Svāhā; this is the mudrā of the crown. Form two fists and naturally bend the two index fingers, joining their tips; extend the two thumbs behind the middle fingers and touch them to the forehead while reciting Tā Svāhā; this is the mudrā of the forehead. Form the palms hollow and bend the two thumbs inward, touching them to the two eyes while reciting Re Svāhā; this is the mudrā of the eyes. Form two fists and naturally bend the two index fingers, joining their tips; extend the thumbs over the middle fingers and touch them to the throat while reciting Tu Ta Svāhā; this is the mudrā of the throat. Form two fists and separate the two thumbs and two index fingers, touching them to the tops of the two shoulders while reciting Tā Svāhā; this is the mudrā of the shoulders. Join the palms, raise the two thumbs and separate them, touching them to the heart while reciting Re Svāhā; this is the mudrā of the heart. Form two fists and extend the two thumbs and two little fingers; bend the two middle fingers so their tips meet and touch them to the navel while reciting Tu Svāhā; this is the mudrā of the navel. Form two fists and extend the two thumbs over the index fingers; extend the two middle fingers naturally, join their tips, and slightly curl them.
Touching the secret place, the syllables re svāhā constitute the secret mudrā. The purpose of binding the mudrā is to protect the samaya, to cause the three doors of body, speech, and mind to rely upon virtue, and to apprehend all conventional and ultimate dharmas as being dependent upon the mind. Furthermore, there are two purposes: to cause all mundane and supramundane siddhis to arise, and the purpose of becoming invulnerable to all obstacles such as Māras.
Then, at one's heart, upon a multicolored lotus and moon, a green tāṃ radiates light rays that strike all sentient beings, transforming all sentient beings into the form of the Venerable Lady and purifying the five afflictions of all sentient beings. Then, the light rays gather back and dissolve into the tāṃ. In that manner, one should perform the radiation and absorption. When weary, one should perform the recitation: upon the moon maṇḍala at the heart, a green tāṃ is surrounded by the ten syllables in a clockwise direction, and one should recite them like a garland of lamps. One should recite: oṃ tāre tuttāre ture svāhā. In this regard, it should not be too fast nor too slow. There are three traditions for reciting the mantra: that which is heard by oneself but not by others, that which is heard by both oneself and others, and mental recitation that is not vocal. The purpose of the first is to accomplish pacifying, enriching, and summoning rites. By the second, the rites of wrathful activity are accomplished.
By the third, the siddhi of Mahāmudrā will be attained. The number for the approach retreat is ten million. At the time of application for the activities, the color of the principal deity is changed, but the retinue is not. Furthermore, for pacifying: Oṃ tāre tuttāre ture svāhā, mama śāntiṃ kuru svāhā. For enriching: Oṃ tāre tuttāre ture vaṣaṭ mama puṣṭiṃ kuru. For making an enemy a friend: Oṃ tāre tuttāre ture vaṣaṭ amukaṃ vaśīṃ kuru vaṣaṭ. For summoning: Oṃ tāre tuttāre ture jñāna amukaṃ ākarṣaya jaḥ. For expelling: Oṃ tāre tuttāre ture phu amuka uccāṭaya phu. For binding: regarding the binding of the enemy's body, Oṃ tāre tuttāre ture amukaṃ stambhaya laṃ. Regarding the binding of speech: Oṃ tāre tuttāre ture svāhā laṃ amuka vācaṃ stambhaya laṃ. Regarding binding the enemy in their own place: Oṃ tāre tuttāre ture svāhā laṃ ākarṣa amukaṃ laṃ stambhaya laṃ. For killing: Oṃ tāre tuttāre ture svā hūṃ phaṭ amukaṃ māraya hūṃ phaṭ. Then, the torma offering should be presented: visualize that from the total transformation of a white A in front, there is a silver torma vessel upon a moon maṇḍala. Inside that, from the total transformation of a white A, there is a moon maṇḍala.
Upon that, light rays radiate from a white OṂ, summoning the nectar of primordial wisdom (jñāna-amṛta). As it descends upon the OṂ and the moon, they melt and become like milk. Then, recite OṂ ĀḤ HŪṂ three times, and OṂ TĀRE TUTTĀRE TURE SVĀHĀ. Visualize that the tongues of the principal deity and the entire retinue are equipped with vajra tubes through which they partake of the offering. For the Dharma protectors, recite OṂ A-KĀRO MUKHAṂ SARVA-DHARMĀṆĀṂ ĀDYA-NUTPANNA-TVĀT OṂ ĀḤ HŪṂ PHAṬ SVĀHĀ three times, and visualize them partaking with tongues equipped with vajra tubes. At the end of the session, request the wisdom deities to depart and dissolve the samaya-sattvas into oneself. Now, the purification will be explained. The principal goddess having one face signifies the realization of all phenomena as a single primordial wisdom. Her green body color signifies mastery over various activities. Her two hands signify the realization of the two truths: the right hand for the conventional and the left for the ultimate. Her right leg extended signifies the abandonment of all faults such as the māras, and her left leg drawn in signifies the perfection of all qualities. Being adorned with all ornaments signifies the complete perfection of the accumulations; thus, the principal deity and the retinue are in harmony. Her right hand in the gesture of supreme generosity signifies the complete perfection of the perfection of generosity (dāna-pāramitā). Her left hand in the gesture of granting refuge signifies protecting all sentient beings from fear. Holding the utpala flower signifies bringing joy to all sentient beings.
One who is like a sixteen-year-old is endowed with the capacity to accomplish the welfare of all sentient beings. The moon maṇḍala seat is endowed with insight. The multicolored lotus seat is endowed with the nature of compassion. The family is the Amoghasiddhi family. The aggregate is the aggregate of consciousness. The wisdom is the wisdom of the utterly pure dharmadhātu. The white body color of Prajñāpāramitā is endowed with the stainlessness of all phenomena. Having one face and two arms is in accordance with the principal deity. The three eyes are the knowledge of the three times. The jewel in the right hand fulfills the hopes and desires of all sentient beings. The white lotus in the left hand is the sign that all phenomena are free from defects. Above that, the presence of a yellow precious vase signifies holding all phenomena as precious. The aggregate is the aggregate of form. The wisdom is the mirror-like wisdom. The family is the Vairocana family. The yellow body color of Mārīcī is for the sake of extensively increasing the welfare of all sentient beings. Having one face and two arms is in accordance with the principal deity. The five lower prongs of the vajra in the right hand are the purification of the five aggregates. The five upper prongs are endowed with the five Buddha families. The aśoka tree in the left hand is for the sake of abandoning the suffering of all sentient beings. The aggregate is the purification of the aggregate of feeling. The wisdom is the wisdom of equality.
The family is that of Ratnasambhava. Vārāhī, with one face and two arms, is similar to the principal deity. Her red body color signifies her possession of compassion for all sentient beings. Her sow’s face signifies the subduing of all māras. The red lotus in her right hand signifies the realization that all phenomena are like the precious ruby. Her left hand in the gesture of meditative equipoise signifies the realization of the equality of all phenomena. The aggregate is the purified aggregate of perception. The wisdom is the discriminating wisdom. The family is that of Amitābha. Ekajaṭī, with one face and two arms, is similar to the principal deity. Her wrathful face is a sign of subduing the māras. The curved knife in her right hand is a sign of cutting through the afflictions. The skull-cup in her left hand is a sign of having abandoned all conceptual thoughts. Her black body color is a sign of great loving-kindness. Her tiger-skin lower garment signifies the realization of the conventional truth, the chaotic nature of saṃsāra. The aggregate is the purified aggregate of formations. The wisdom is the all-accomplishing wisdom. The family is that of Akṣobhya. The fact that all four retinues are in the vajra posture signifies their extreme stability in the welfare of others. The four utpala flowers that appear on the four intermediate lotuses are the four goddesses: Locanā, Māmakī, Pāṇḍaravāsinī, and Tārā. These are the purification of the four elements.
The nature of the deities, which are the essence of the four immeasurables, is the emanation of the five families of Victors who have abandoned the five afflictions; specifically, the principal goddess has abandoned envy. Prajñāpāramitā has abandoned ignorance. Mārīcī has abandoned pride. Vārāhī has abandoned attachment. Ekajaṭī has abandoned hatred. This is the generation stage, the emanation.
Having resolved upon emptiness, one meditates on the completion stage. The saṃbhogakāya is as follows: from the green syllable TĀṂ upon a multicolored lotus and moon maṇḍala at one’s own heart, white light rays in the nature of Vairocana emerge from the navel of the principal goddess, inviting Prajñāpāramitā, who dissolves into one’s forehead. Again, from the navel, red light rays in the nature of Amitābha emerge, inviting Vārāhī, who dissolves into the throat of the principal goddess. Again, from the navel, black light rays in the nature of Akṣobhya emerge, and Ekajaṭī dissolves into the heart of the principal goddess. Again, from the navel, light rays in the nature of Ratnasambhava emerge, and Mārīcī dissolves into the navel of the principal goddess. Then the principal goddess herself becomes the essence of the lotus, the moon, and the syllable TĀṂ. The lotus dissolves into the moon; the moon dissolves into the TĀṂ; the TĀṂ dissolves into the crescent moon; the crescent moon dissolves into the bindu; and the bindu dissolves into the nāda. The red nāda becomes like the tip of a needle; this is the dharmakāya. Then one should sleep without conceptual thought. Then, at the time of rising the next morning, that nāda becomes the bindu.
That [syllable] becomes a tāṃ. From the complete transformation of that, one instantaneously generates oneself as the principal deity. From the tāṃ at the heart of that [deity], light radiates from a multicolored lotus and moon maṇḍala, inviting the wisdom circle (jñānamaṇḍala). One should then perform the accumulation of merit and so forth as previously described.
The Sādhana of the Venerable Tārā, extracted from the Ocean of Tārā Tantra and composed by the noble Nāgārjuna, is hereby complete. It was translated by the great Indian paṇḍita Dharmavajra and the Tibetan translator, the monk Darma Rinchen. It was sponsored by the great spiritual friend Chökyi Lodrö at the Chökhor Jöjö Monastery.
Translation status: Not among 84000's published translations, and not in progress there. Translations published elsewhere have not been searched for, so one may exist. (source: 84000 catalogue + registry; checked 2026-11-10).
Set in Newsreader and EB Garamond; Tibetan in Noto Serif Tibetan; Chinese in Noto Serif SC.