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Tara is the most popular goddess in the Buddhist pantheon. She holds the same place in Buddhism as the goddess Durga has in Brahmanism. Etymologically Tata means the goddess who makes the devotees to cross the sea or ocean, broadly speaking the very ocean of existence. The Buddhists consider Tara to be the great Mother-goddess, the symbol of primordial female energy and the consort of Avalokiteswara, the god of compassion. Acceding to her Sadhanas, the enables her devotees to surmomt all sorts of dangers, calamities and eight Mahabhayas.This Monograph on Tara discusses the date and place of the origin of the goddess. The cult of the goddess, though now restricted only to Tibet and Nepal, was a popular one in Bihar, Bengal, Assam, Uttarpradesh, Orissa and Hill states. Even in Kashmir, it was a very popular deity. A Good number of sculptural representation of Tara have been found in the Buddhist caves of the western Deccan such as Ellora, Aurangabad, Kanheri and Ajanta. Nagarjuni Konpla rums have also revealed the traces of this goddess, its wide popularity has been proved by a large number of images and paintings on Manuscripts. The most creative period for this goddess in India was from 5th century A.D. to 13th century A.D., later on it flourished in Nepal, Tibet and Ladakh region.The author has discussed the various theories about the origin of the goddess Tara, and given us a detailed account of the various forms of the goddess. A detailed and critical treatment of the various types of images of Tara, gives us a deeper Insight to appreciate and admire the activities of the artists of the various periods. The present work will make you to realize the inner feelings of her devotees and artosts as well as the canons and scriptures. The work will surely be fulfilling the long desired needs and hopes of the students and scholars of Indians art and religion.