The deity is seated on a Nepalese-style lotus base with broad petals, her body and faced are gilt but not the lower garment or the pedestal. She has a third eye (not an urna) on her forehead. Her right hand displays the gesture of generosity, the other holds the stem of a lotus.
The eyes in the palm of her hands and on her forehead and the fact that her legs are in the vajra position tell us this is White Tara. The left hand is held to hold a (missing) flower.
On this variant, Tara’s left hand does the teaching gesture while holding the (broken) stem of a blue lotus. The tip of her right thumb touches the tip of the forefinger to display knowledge.
We saw an 18th century Green Tara with a similar type of necklace and cut out lotus recently, both from the same museum. This one has a lower crown which shows her top knot supporting a lotus and flaming jewel finial.
An odd mixture of broad shoulders and an exaggeratedly thin waist and elongated torso (the latter recalling 15th century Xuande Ming dynasty works) contrasting with an undersized head. She wears a shawl over her shoulders and a long and ample silk lower garment. The tip of her middle finger on her left hand presses the tip of the thumb, a gesture to ward off evil (in Tibet it is usually seen on wrathful deities holding a lasso).
A small figure with painted facial features including bushy eyebrows, the hem of her garment and scarf decorated with large beading, the lotuses fastened to her elbows, her left hand doing the gesture to bestow refuge (the tip of the ring finger touching the tip of the thumb).