Very similar in style to a Transitional Period Nepalese Tara worshipped in Tibet and published in a previous post, this female character seems to have held a couple of attributes in her hand. Her hair is divided in two coils visible behind the large front panel of her tiara.
Probably from the same period, a similar figure with both hands clasped against her heart in a gesture of salutation, or perhaps to hold a jewel.
Clearly made in Western Tibet, this intriguing personage holds a couple of attributes.
A water pot in the right hand, a disc or mirror in the other.
This small character with a floral crown and a long garment incised with a large floral pattern holds a skull cup in her left hand and a grain or pearl in the other, between forefinger and thumb.
Four deities with one head and four hands each, in a dancing pose, the first from the left of the viewer holds a flaming jewel and a drum in her right hands, a skull cup and a missing object in the others; the next one has a bowl and a drum in her right hands, a grain or a pearl and another bowl in her left hands; the following one has a jewelled scarf in her main hands, a drum and a skull cup in the others; the last one holds a drum and what could be a mirror, one hand is severed, the other has lost its attribute.
Allegedly the consort of King Trisong Detsen before becoming Padmasambhava’s, Yeshe Tsogyal is regarded as a buddha, and an emanation of Vajrayogini and Tara or Sarasvati. She may hold a skull cup; on these two examples she holds a vase in one hand and does the fear-allaying gesture with the other.
White Tara, standing on a Pala-style pedestal, her right hand extended, the other holding the stem of a lotus, her garment inlaid with copper and silver roundels to imitate the original Indian Pala art, her face with three eyes, painted with cold gold and pigments.
It is not clear what this donor holds in both hands, perhaps a conch shell?