15th century, Tibet, Tsang province, metal (copper alloy), at the Rubin Museum of Art in New York (USA).White Tara’s thin waist, silk shawl and festooned necklace denote a Chinese influence, while her facial features and the absence of gilding are typical of Tibetan works. She holds the stem of a blue lotus in her left hand (doing the gesture to bestow refuge) and has an open lotus next to her right shoulder.
A rare sculpture of White Tara with an effigy of Amitabha on her chignon, the three eyes on her face inlaid with silver. She is seated on a lotus base with thick beading at the bottom but none at the top.
The turquoise-inlaid protuberance on her forehead looks more like an urna (orginially a lock of hair on the forehead of the historical buddh) than a third eye (which is always vertical and narrow), in which case we would be looking at Vishvamata.
We saw a Green Tara from the same museum, adorned with similar accessories with very intricate details (thanks to the repoussé technique), reminiscent of some Mongolian works.
A brass sculpture with Kashmiri features such as the cruciform navel and the inverted U-shaped hem of her bodice, Western Tibetan elements such as the five-point crown with triangular panels and the plump oval face associated with Guge but without silver inlay for the eyes, together with a silk shawl forming loops at elbow level, an ample lower garment folded loosely over the legs, plain jewellery, an elongated torso and a thin waist suggesting a Chinese influence. The third eye on her face is barely incised above her unibrow.