Readiness
Conveyed through the characteristic extended leg.
ENTRY COLLECTION · ES-WD-GT-01
An individually documented Green Tara piece from the ES Collection. The form is machine-demoulded and then hand-coloured by artisans or workshop workers; conflicting historical material records remain intentionally excluded from the consumer description.
THE OBJECT · ABOUT THIS PIECE
An individually documented Green Tara piece from the ES Collection. The form is machine-demoulded and then hand-coloured by artisans or workshop workers; conflicting historical material records remain intentionally excluded from the consumer description.
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 a central Tara form in Tibetan Buddhist art. Her iconography is recognised by a peaceful female figure, lotus imagery and a relaxed seated posture with the right leg extended. This posture creates a visual sense of readiness rather than complete withdrawal into meditation.
Conveyed through the characteristic extended leg.
A recurring meaning of Green Tara’s hand gestures.
Frequently accompanies the figure.
A major theme in several Tara traditions.
Tara holds an exceptional place in Tibetan Buddhist visual culture.
CULTURAL BACKGROUND
The Tara tradition developed into a rich family of forms, with Green Tara among the most familiar. Her asymmetrical posture — one leg folded and the other extended — gives the peaceful figure a sense of potential action. Green Tara is also associated with traditions concerning the “eight fears,” which can be read both as dangers and as symbolic obstacles. These meanings belong to Buddhist culture and practice; they are not presented as a guarantee that the object itself prevents harm.
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. No material composition is stated because the surviving material records conflict.
DETAILS · INDIVIDUAL RECORD
CARE
Handle gently and keep in a dry, stable environment away from prolonged direct sunlight and excessive heat. Dust only with a soft, clean, dry cloth. Do not use water, oils, polish, alcohol, solvents or abrasives.
ENTRY COLLECTION · ES-WD-GT-01
An individually documented Green Tara piece from the ES Collection. The form is machine-demoulded and then hand-coloured by artisans or workshop workers; conflicting historical material records remain intentionally excluded from the consumer description.
THE OBJECT · ABOUT THIS PIECE
An individually documented Green Tara piece from the ES Collection. The form is machine-demoulded and then hand-coloured by artisans or workshop workers; conflicting historical material records remain intentionally excluded from the consumer description.
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 a central Tara form in Tibetan Buddhist art. Her iconography is recognised by a peaceful female figure, lotus imagery and a relaxed seated posture with the right leg extended. This posture creates a visual sense of readiness rather than complete withdrawal into meditation.
Conveyed through the characteristic extended leg.
A recurring meaning of Green Tara’s hand gestures.
Frequently accompanies the figure.
A major theme in several Tara traditions.
Tara holds an exceptional place in Tibetan Buddhist visual culture.
CULTURAL BACKGROUND
The Tara tradition developed into a rich family of forms, with Green Tara among the most familiar. Her asymmetrical posture — one leg folded and the other extended — gives the peaceful figure a sense of potential action. Green Tara is also associated with traditions concerning the “eight fears,” which can be read both as dangers and as symbolic obstacles. These meanings belong to Buddhist culture and practice; they are not presented as a guarantee that the object itself prevents harm.
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. No material composition is stated because the surviving material records conflict.
DETAILS · INDIVIDUAL RECORD
CARE
Handle gently and keep in a dry, stable environment away from prolonged direct sunlight and excessive heat. Dust only with a soft, clean, dry cloth. Do not use water, oils, polish, alcohol, solvents or abrasives.