The praise text's prominence in Tibetan Buddhism owes a great deal to one particular transmission figure: the eleventh century Bengali teacher Atisha, credited with a major role in reviving and reforming Buddhism in Tibet after a period of decline, was famous for his personal devotion to Tara and is credited by tradition with bringing Tara practice, including material connected to this praise text, into the core of Tibetan monastic training in a way that shaped the goddess's subsequent centrality across virtually every Tibetan Buddhist school regardless of specific lineage. Later teachers across the different Tibetan schools continued to transmit the praise text as standard, memorized material for monastics and increasingly for lay practitioners as well, so that unlike some Vajrayana material tied to a single school's specific empowerment lineage, this text crosses sectarian boundaries within Tibetan Buddhism with unusual ease.
Each of the twenty one verses addresses a differently colored and differently functioned form of Tara within an organized set, typically visualized together in a mandala arrangement during more elaborate practice, with individual Taras associated with specific protective functions rather than the twenty one being simply repetitive variations on a single theme. This structured multiplicity, one goddess appearing in twenty one specifically differentiated forms each with its own verse and its own assigned protective function, is a distinctively Vajrayana way of organizing devotional material into a systematic set, differing from how devotional multiplicity works in the thousand name format of the Vishnu Sahasranama recorded elsewhere in this atlas, where the multiplication is of names for one figure rather than of distinct visualized forms.