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Lot Essay
Regarded as a female boddhisatva, Tara is one of the most widely worshipped female figures of Buddhism, revered for the protection and guidance she offers on the path toward enlightenment. Tara exists in twenty-one forms, each representing specific qualities or actions, with the Green Tara having a particular association with protection from fear.
The present figure is seated in lalitasana on a double-lotus beaded base with her pendent right leg supported by a lotus blossom, her right hand lowered to touch her knee in varadamudra (boon-giving) and left hand raised in vitarkamudra (teaching). Adorned with a five-leafed crown and fluttering ornaments on both sides, this Tara has broad shoulders and a slender waist, with two finely carved lotus blossoms over the shoulders; her body is further embellished with intricate jewellery with inlays.
The Qing imperial family predominantly adhered to Lamaism, driven by both political considerations aimed at pacifying the Mongolian and Tibetan regions and personal religious conviction. This adherence was particularly pronounced during the reigns of Emperors Kangxi and Qianlong. During their rule, the emperors honoured high monks, constructed numerous temples, and commissioned bronze Buddhist figures. Such initiatives not only strengthened interethnic relations and stabilised frontier regions but also fulfilled the imperial family's spiritual aspirations for Buddhist blessings, thereby facilitating the further spread and development of Tibetan Buddhism. Under the auspices of the imperial family, a trend emerged in Mongolia to emulate palace-style iconography. These figures resemble closely to court aesthetics while integrating distinct Mongolian characteristics. The present Green Tara is a quintessential representation of this artistic synthesis.
The Green Tara has a tall and robust physique, characterised by toned limbs that nonetheless retain a feminine grace. The upper body is bare, adorned with a scarf that drapes around both arms and falls gently in front of the seat, while the lower body wears a flowing skirt decorated with intricate patterns; these are all elements emblematic to Kangxi’s court. The lotus base is adorned with a beaded border along the upper edge and a rare triple-beaded border on the lower edge, a unique attribute in the Mongolian styles. The lotus petals are robust and full with swirling foliage, an aesthetic element inherited from the Ming dynasty and reflective of Kangxi's stylistic preferences.
This item is subject to CITES export/import restrictions. The historical CITES paperwork for this lot is not available and it will not be possible to obtain a CITES export permit to ship this item to addresses outside Hong Kong post-sale. This item can only be shipped to addresses within Hong Kong or collected from our Hong Kong saleroom and office. Please contact the department for further information.
The present figure is seated in lalitasana on a double-lotus beaded base with her pendent right leg supported by a lotus blossom, her right hand lowered to touch her knee in varadamudra (boon-giving) and left hand raised in vitarkamudra (teaching). Adorned with a five-leafed crown and fluttering ornaments on both sides, this Tara has broad shoulders and a slender waist, with two finely carved lotus blossoms over the shoulders; her body is further embellished with intricate jewellery with inlays.
The Qing imperial family predominantly adhered to Lamaism, driven by both political considerations aimed at pacifying the Mongolian and Tibetan regions and personal religious conviction. This adherence was particularly pronounced during the reigns of Emperors Kangxi and Qianlong. During their rule, the emperors honoured high monks, constructed numerous temples, and commissioned bronze Buddhist figures. Such initiatives not only strengthened interethnic relations and stabilised frontier regions but also fulfilled the imperial family's spiritual aspirations for Buddhist blessings, thereby facilitating the further spread and development of Tibetan Buddhism. Under the auspices of the imperial family, a trend emerged in Mongolia to emulate palace-style iconography. These figures resemble closely to court aesthetics while integrating distinct Mongolian characteristics. The present Green Tara is a quintessential representation of this artistic synthesis.
The Green Tara has a tall and robust physique, characterised by toned limbs that nonetheless retain a feminine grace. The upper body is bare, adorned with a scarf that drapes around both arms and falls gently in front of the seat, while the lower body wears a flowing skirt decorated with intricate patterns; these are all elements emblematic to Kangxi’s court. The lotus base is adorned with a beaded border along the upper edge and a rare triple-beaded border on the lower edge, a unique attribute in the Mongolian styles. The lotus petals are robust and full with swirling foliage, an aesthetic element inherited from the Ming dynasty and reflective of Kangxi's stylistic preferences.
This item is subject to CITES export/import restrictions. The historical CITES paperwork for this lot is not available and it will not be possible to obtain a CITES export permit to ship this item to addresses outside Hong Kong post-sale. This item can only be shipped to addresses within Hong Kong or collected from our Hong Kong saleroom and office. Please contact the department for further information.