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Other aspects of the Tenth Karmapa’s personal style apparent in this sculpture include the heavy plates of hair piled on the left side of Tara’s head and the plasticity of her ornaments, such as her tremendous earrings and the bulbous bobbles of her necklace. The Karmapa’s love of animals is often subtlety incorporated into his works. Here, a pair of birds can be found nestled in a leafy bower above Tara’s head
Green Tara
OriginTibet
Artist
Tenth Karmapa, Choying Dorje
(1604 - 1674)
Date17th century
Dimensions7 7/8 × 3 5/8 × 3 5/8 in.
MediumBrass with pigments
Classification(s)
Credit LineRubin Museum of Art
Object numberC2005.16.3a-b
Himalayan Art Resources Number65425
Project Himalayan Arthttps://projecthimalayanart.rubinmuseum.org/related/tara/
DescriptionThis sculpture is attributed to the hand of Choying Dorje (1604–1674), the Tenth Karmapa, who was head of the Karma Kagyu School of Tibetan Buddhism. An eccentric figure within the history of Tibetan art, the Tenth Karmapa possessed a highly individual style, looking to a range of traditions for inspiration, including ancient metalwork from Kashmir and Swat. These influences can be seen in this sculpture of the goddess Tara in the elliptical shape of the lotus petals that make up her seat and the striated pattern on her tight-fitting clothing, which closely models her form. Other aspects of the Tenth Karmapa’s personal style apparent in this sculpture include the heavy plates of hair piled on the left side of Tara’s head and the plasticity of her ornaments, such as her tremendous earrings and the bulbous bobbles of her necklace. The Karmapa’s love of animals is often subtlety incorporated into his works. Here, a pair of birds can be found nestled in a leafy bower above Tara’s head
On view
late 18th century, ca. 1760s
15th century
14th century
13th century
19th century
15th century
late 12th-early 13th century
mid-late 14th century
19th century