at the level of Highest Yoga Tantra in the Gelug School of Tibetan Buddhism, portrayed as green and often conflated with Green Tārā Sarasvati (Yangchenma), known for the arts, knowledge and wisdom Bhṛkuṭītārā (Tronyer Chendze), "Tārā with a Frown", known for protection from spirits Uṣṇīṣavijaya Tārā, White Tārā named "Victorious Uṣṇīṣa" with three faces and twelve arms, associated with long life Golden Prasanna Tārā - wrathful form, with a necklace of bloody heads and sixteen arms holding an array of weapons and Tantric attributes. Yeshe Tsogyal ("Wisdom Lake Queen"), the consort of Padmasambhava who brought Buddhism to Tibet, was known as an emanation of Tārā Rigjay Lhamo, "Goddess Who Brings Forth Awareness", seated in royal posture surrounded by rainbow light. Sitatapatra Tārā, protector against supernatural danger Tārā's iconography such as the lotus also shows resemblance with the Hindu goddess Lakshmi, and at least one Tibetan liturgy evokes Lakshmi as Tārā. According to Shaw, there is a later trend of Tārā theology that began to see all other female divinities as aspects of Tārā or at least associated with her. Apart from her many emanations named Tārā of varying colors, other Mahayana female divinities that became part of Tara's theology include Janguli, Parnasabari, Cunda, Kurukulla, Mahamayuri, Usnisavijaya, and Marici. Based on this principle of Tārā as the central female divinity, Dakinis were also seen as emanations of her. Sadhanas Sadhanas in which Tārā is the yidam (meditational deity) can be extensive or quite brief. Most all of them include some introductory praises or homages to invoke her presence and prayers of taking refuge. Then her mantra is recited, followed by a visualization of her, perhaps more mantra, then the visualization is dissolved, followed by a dedication of the merit from doing the practice. Additionally there may be extra prayers of aspirations, and a long life prayer for the Lama who originated the practice. Many of the Tārā sadhanas are seen as beginning practices within the world of Vajrayana Buddhism, however what is taking place during the visualization of the deity actually invokes some of the most sublime teachings of all Buddhism. In this case during the creation phase of Tārā as a yidam, she is seen as having as much reality as any other phenomena apprehended through the mind. By reciting her mantra and visualizing her form in front, or on the head of the adept, one is opening to her