Green Tara
responsiveness — Her extended leg creates a visual sense of readiness to act.
CURATED SELECTION · CS-GTWT-01
A double-sided hand-painted tsa-tsa pairing Green Tara and White Tara in one compact CS piece. Both sides are individually coloured by trained traditional artisan painters, bringing two related Tara forms together in a single hand-finished object.
THE OBJECT · ABOUT THIS PIECE
A double-sided hand-painted tsa-tsa pairing Green Tara and White Tara in one compact CS piece. Both sides are individually coloured by trained traditional artisan painters, bringing two related Tara forms together in a single hand-finished object.
THE CRAFT · WHY THIS PIECE IS DIFFERENT
CS pieces are painted by skilled artisan painters trained for years in traditional Buddhist painting methods, including the disciplined colour and line work associated with thangka painting. After the hand-painting is completed, the pieces are placed for approximately 1–3 days of prayers and blessing rites. This does not make every CS piece identical: brushwork, colour density and small finishing details remain specific to the individual object.
THE FIGURE · ICONOGRAPHY
Tara is one of the most important female figures in Tibetan Buddhism. Green Tara is commonly associated with active, responsive compassion and is often shown with one leg extended in readiness. White Tara is more strongly associated with longevity and is frequently represented with seven eyes, symbolising expanded awareness.
responsiveness — Her extended leg creates a visual sense of readiness to act.
generosity — Characteristic hand gestures express giving and reassurance.
longevity — One of the strongest traditional associations of the white form.
seven eyes — A distinctive iconographic feature connected with watchful awareness.
CULTURAL BACKGROUND
Tara developed into a rich family of forms across Himalayan Buddhism. Green Tara became especially recognisable through her asymmetrical seated posture, while White Tara presents a more composed image and is frequently distinguished by seven eyes on the face, palms and soles. Bringing the two together makes visible how one deity family can express different qualities through colour, posture and attributes. The double-sided structure of this object turns that iconographic relationship into part of the physical design.
THE MAKING · PROCESS
The tsa-tsa form is prepared and then individually hand-painted by trained traditional artisan painters. After painting and assembly, CS pieces are placed in a temple or practice setting for approximately 1–3 days of prayers and blessing rites. The supplier artisan’s personal name and workshop are not stated in the current record.
DETAILS · INDIVIDUAL RECORD
CARE
Handle both sides carefully and avoid abrasive surfaces. Keep dry and away from prolonged sunlight. Dust gently with a soft, dry cloth; do not use liquids, alcohol, polish or abrasive cleaners.
CURATED SELECTION · CS-GTWT-01
A double-sided hand-painted tsa-tsa pairing Green Tara and White Tara in one compact CS piece. Both sides are individually coloured by trained traditional artisan painters, bringing two related Tara forms together in a single hand-finished object.
THE OBJECT · ABOUT THIS PIECE
A double-sided hand-painted tsa-tsa pairing Green Tara and White Tara in one compact CS piece. Both sides are individually coloured by trained traditional artisan painters, bringing two related Tara forms together in a single hand-finished object.
THE CRAFT · WHY THIS PIECE IS DIFFERENT
CS pieces are painted by skilled artisan painters trained for years in traditional Buddhist painting methods, including the disciplined colour and line work associated with thangka painting. After the hand-painting is completed, the pieces are placed for approximately 1–3 days of prayers and blessing rites. This does not make every CS piece identical: brushwork, colour density and small finishing details remain specific to the individual object.
THE FIGURE · ICONOGRAPHY
Tara is one of the most important female figures in Tibetan Buddhism. Green Tara is commonly associated with active, responsive compassion and is often shown with one leg extended in readiness. White Tara is more strongly associated with longevity and is frequently represented with seven eyes, symbolising expanded awareness.
responsiveness — Her extended leg creates a visual sense of readiness to act.
generosity — Characteristic hand gestures express giving and reassurance.
longevity — One of the strongest traditional associations of the white form.
seven eyes — A distinctive iconographic feature connected with watchful awareness.
CULTURAL BACKGROUND
Tara developed into a rich family of forms across Himalayan Buddhism. Green Tara became especially recognisable through her asymmetrical seated posture, while White Tara presents a more composed image and is frequently distinguished by seven eyes on the face, palms and soles. Bringing the two together makes visible how one deity family can express different qualities through colour, posture and attributes. The double-sided structure of this object turns that iconographic relationship into part of the physical design.
THE MAKING · PROCESS
The tsa-tsa form is prepared and then individually hand-painted by trained traditional artisan painters. After painting and assembly, CS pieces are placed in a temple or practice setting for approximately 1–3 days of prayers and blessing rites. The supplier artisan’s personal name and workshop are not stated in the current record.
DETAILS · INDIVIDUAL RECORD
CARE
Handle both sides carefully and avoid abrasive surfaces. Keep dry and away from prolonged sunlight. Dust gently with a soft, dry cloth; do not use liquids, alcohol, polish or abrasive cleaners.