In the present painting she has a lovely young face. She is seated in vajraparyankasana on a lotus seat. Her right hand is in the gesture of supreme giving, her boundless generosity that ensures eight siddhis and supreme Enlightenment. Graceful and calm, her left hand holds blue lotus, the symbol of protection from all terrors and fears. She has seven eyes of Knowledge three on her face, two on her palms of her hands, and two on the soles of feet. This form of Tara is very popular in Mongolia and Nepal. In Nepal she is popularly called Sapta-lochani Tara or Seven-eyed Tara. Her silk robes, scarves, coronet, earrings, necklaces, armbands, bracelets, anklets and belt sparkle in their celestial elegance.
In mantra recitation and meditation, the white syllable Tam (for Tara) appears in the heart, and lights emanate forth from it. The syllable Tam at the heart suddenly melts and reappears as a white, eight-spokes wheel that in nature is the wisdom symbolized by White Tara. The wheel has five rims of mantra from all the letters and from the wisdom-wheel shine forth white lights. Devotee's body is filled with the nectar of immortality, and white lights emanate from each pore of the body to form an aura, a span in radius around him. Meditating thus, white radiance accomplishes the activity of pacifying illness, evil spirits, negative karmic forces, mental obscurations and hindrances as well as the completion of the natural span of life. The ceremonies of Tara are an integral part of Karmpa rituals. Her mandalas are worshipped from the third to ninth of every month. On auspicious days there are special services to White Tara.
Three Cosmic Buddhas have been depicted on the top, they are seated on throne in clouds Vairochana Buddha (in the left) who is making the teaching gesture, a Buddha (in the center) who is making the earth-witness and refuge-granting gesture, and the Buddha Amoghasiddhi (in the right) whose right hand is in refuge-granting gesture and the left hand is in contemplative gesture. Sadakshari Lokeshvara (four-armed Avalokiteshvara) is depicted on upper right side before a grand shrine. A ferocious dragon has been depicted on the upper left side. At the bottom left and right corners perhaps Marichi and Mahamayuri are seated. The middle and foreground beautifully covered with the figures of high peaks, covered with natural green vegetation, clouds and lake. In the middle of the lake, before the White Tara are auspicious offerings. The thangka is undoubtedly brilliantly drawn and painted. The painting is very much suitable for sadhana of great mother Tara and also for museum collection.
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)."