Green Tara is seated on a double-lotus base with round petals, her right foot resting on a lotus stemming from the pedestal, adorned with simple jewellery and belt with a circular motif typical of the Late Malla period, her left hand doing the vitarka mudra the other held in the varada mudra, both holding the stem of a lotus. She has Tibetan-style features, a V-shaped torso with a very thin waist and small pointed breasts which depart from the Indian standards usually applied to Nepalese goddesses.
This Mongolian-style sculpture depicts White Tara, her legs covered with soft and ample draping, an eye incised in the palm of her hands and on the sole of her feet. The missing tiara reveals a double top knot. There was almost certainly a lotus fastened to her left arm.
This Green Tara has a hand resting on her knee, holding the stem of a (broken) lotus. Her celestial scarf in incised with a foliate pattern and the ends are shaped like leaves. There is a foliate halo fastened to her back. She has Nepalese-style facial features and a rectangular urna on her forehead, inlaid with turquoise. The hem of her ample dhoti is also decorated with a foliate pattern. She wears jewellery inlaid with gemstones, including the rings on her fingers. The photo may be the wrong way round (sometimes you come across two pictures of the same sculpture and one is the wrong way round, as odd as it may be) because she would normally do the vitarka mudra with the left hand and have her right foot resting on a lotus attached to the base. But there are always exceptions…
This is another example with the left leg pendant, but the foot is not resting on a lotus attached to it, although perhaps a lotus was fastened to another element (such as a throne) now missing. An inscription on the base dates the piece to 1665.
She wears a crown and earrings with a floral design, there is even a flower on her chignon and a garland of flowers around her neck.