Responsive compassion
Her extended leg creates a sense of readiness to act.
ENTRY COLLECTION · ES-LP-GT-01
A larger-format Green Tara tsa-tsa with a printed reverse from the ES Collection. The form is machine-demoulded, then individually hand-coloured by artisans or workshop workers, giving the piece a hand-finished surface within a more accessible production process.
THE OBJECT · ABOUT THIS PIECE
A larger-format Green Tara tsa-tsa with a printed reverse from the ES Collection. The form is machine-demoulded, then individually hand-coloured by artisans or workshop workers, giving the piece a hand-finished surface within a more accessible production process.
THE PROCESS · WHY THIS PIECE IS DIFFERENT
ES follows a different making route from HC and CS. The tsa-tsa forms are machine-demoulded, then individually hand-coloured by ordinary artisans or workshop workers. Finished pieces are also placed together with other objects during large-scale Buddhist prayer ceremonies to receive prayers and blessings as part of the gathering. The significance lies in this combination of accessible production, human hand-finishing and participation in a living prayer context—not in a claim of guaranteed spiritual effect.
THE FIGURE · ICONOGRAPHY
Green Tara is one of the most recognisable female figures in Tibetan Buddhism. She is frequently understood as an active, responsive form of Tara, shown with one leg extended in a posture that visually suggests readiness. Lotus imagery and gestures associated with generosity and reassurance often accompany her.
Her extended leg creates a sense of readiness to act.
Characteristic hand gestures are linked with giving and openness.
A recurring element in Green Tara imagery.
An important theme in many Tara traditions.
CULTURAL BACKGROUND
Green Tara became especially recognisable in Himalayan art through her asymmetrical seated posture: one leg folded, the other extended. The pose gives an otherwise peaceful image a sense of potential movement. Tara traditions also developed narratives and practices around the “eight fears,” expressing how the figure came to represent a compassionate response to danger and suffering. In product language, these are cultural and devotional meanings rather than promises of guaranteed protection.
THE MAKING · PROCESS
The tsa-tsa form is machine-demoulded, then individually hand-coloured by artisans or workshop workers before final assembly. Finished ES pieces are included during large-scale Buddhist prayer ceremonies, where they are placed with other objects for prayers and blessing rites. The current formal structure includes a printed reverse; historical “copper gilded” wording is not carried forward as a current material statement.
DETAILS · INDIVIDUAL RECORD
CARE
Keep dry, away from extended sunlight and protected from bending, impact or abrasion. Dust gently with a clean, dry, soft cloth. Do not apply metal polish, solvents, alcohol or liquid cleaners.
ENTRY COLLECTION · ES-LP-GT-01
A larger-format Green Tara tsa-tsa with a printed reverse from the ES Collection. The form is machine-demoulded, then individually hand-coloured by artisans or workshop workers, giving the piece a hand-finished surface within a more accessible production process.
THE OBJECT · ABOUT THIS PIECE
A larger-format Green Tara tsa-tsa with a printed reverse from the ES Collection. The form is machine-demoulded, then individually hand-coloured by artisans or workshop workers, giving the piece a hand-finished surface within a more accessible production process.
THE PROCESS · WHY THIS PIECE IS DIFFERENT
ES follows a different making route from HC and CS. The tsa-tsa forms are machine-demoulded, then individually hand-coloured by ordinary artisans or workshop workers. Finished pieces are also placed together with other objects during large-scale Buddhist prayer ceremonies to receive prayers and blessings as part of the gathering. The significance lies in this combination of accessible production, human hand-finishing and participation in a living prayer context—not in a claim of guaranteed spiritual effect.
THE FIGURE · ICONOGRAPHY
Green Tara is one of the most recognisable female figures in Tibetan Buddhism. She is frequently understood as an active, responsive form of Tara, shown with one leg extended in a posture that visually suggests readiness. Lotus imagery and gestures associated with generosity and reassurance often accompany her.
Her extended leg creates a sense of readiness to act.
Characteristic hand gestures are linked with giving and openness.
A recurring element in Green Tara imagery.
An important theme in many Tara traditions.
CULTURAL BACKGROUND
Green Tara became especially recognisable in Himalayan art through her asymmetrical seated posture: one leg folded, the other extended. The pose gives an otherwise peaceful image a sense of potential movement. Tara traditions also developed narratives and practices around the “eight fears,” expressing how the figure came to represent a compassionate response to danger and suffering. In product language, these are cultural and devotional meanings rather than promises of guaranteed protection.
THE MAKING · PROCESS
The tsa-tsa form is machine-demoulded, then individually hand-coloured by artisans or workshop workers before final assembly. Finished ES pieces are included during large-scale Buddhist prayer ceremonies, where they are placed with other objects for prayers and blessing rites. The current formal structure includes a printed reverse; historical “copper gilded” wording is not carried forward as a current material statement.
DETAILS · INDIVIDUAL RECORD
CARE
Keep dry, away from extended sunlight and protected from bending, impact or abrasion. Dust gently with a clean, dry, soft cloth. Do not apply metal polish, solvents, alcohol or liquid cleaners.