Green Tara is slim and slender and has lovely young face. Her lips are painted red and her earlobes are elongated. Her neck has three folds signifying that her speech is as sacred as the voice of a conch. Her hair is partly upswept in knots and partly falls loose on her shoulders. She is wearing a beautiful crown of flowers and is adorned with the costumes and ornaments of a Bodhisattva. The ornaments she is wearing include earrings, necklaces, armlets, bracelets, waistbands and anklets. Her drape is made up of flowing silk scarves, a beautiful skirt and silk leggings, the latter made of two coloured bands.
There is a mandorla behind her body and a halo behind her head, painted in gold and silver colours. Above her head there is an image of Amitabha Buddha in clouds. The upper right and left corners are filled with stylized clouds. The middle ground of the painting is populated with mountains, trees, plants and stylized clouds. On proper left side a pair of antelopes on a mountain, waterfall, plants on high peaks, etc. are depicted. The bottom centre is filled with offerings elephant tusks, fruits, sacred wheel, flowers, etc. and the landscape with plants and lake. The composition, colour-combination and lining of the painting, all reveal the skill of the anonymous artist behind it.
The worship of goddess Tara, a female Buddha and meditational deity, is very popular in Tibet, Mongolia, Nepal and China. She is recognized as a savior goddess who protects her worshippers from all the evils of existence and fear. It is said that the cult of Tara was introduced into Tibet in the 7th century A.D. and was greatly propagated in the eleventh century A.D. with the arrival of the great Indian Master Dipankara Atisha. It is believed that Green Tara's special powers help devotees to overcome dangers, fears and anxieties, and she also grants wishes. She helps her devotees to cross over from danger to safety or from suffering to happiness. Her femineity imbues her with soft and compassionate feelings, and she acts very quickly and directly as a savioress. She also protects her devotees from the sixteen perils.
This description by Dr. Shailendra Kumar Verma, Ph.D. His doctorate thesis being on the "Emergence and Evolution of the Buddha Image (from its inception to 8th century A.D)."