A fine and very rare miniature gilt-bronze figure of Green Tara mark and period of Yongle

the finely-cast figure seated in dhyanasana on a double-lotus pedestal which rests on an ornate platform and supported by two flanking attendants, the hands held with thumb and forefinger together at the chest in dharmachakra mudra, the gesture of teaching, wearing a flowing dhoti, her bare chest adorned with beaded pendent jewellery chains, flanked by two lotus flowers, the calm and serene face with downturned eyes and a pleasant smiling expression, punctuated by a pair of large disk earrings and an elaborate crown, her hair tied in a tight curling topknot with loose strands falling over the shoulders, the pedestal incised with a six-character mark

The present gilt bronze figure is the smallest Yongle marked piece known of the period. 

This piece is representative of a group of Buddhist figures made in China during the first half of the fifthteenth century that displays a style influenced by the art of Tibet.  In the preceding Yuan dynasty, the authority of Mongol rulers had become closely associated with Tibetan Buddhist or Lamaist rituals.  The tradition of Lamaist art continued into the Ming period and prevailed in works such as the present piece.  Missions to Tibet were carried out during the early part of the Ming dynasty which sought to maintain good relations with the Tibetan lamas, and images such as this piece were exchanged as gifts. 

Tara, a female buddha, is considered to be the goddess of compassion.  The story of her origin recounts that she generously gave offerings and prayers to buddhas, boddhisattvas, ordained monks and nuns because of her compassion and spirituality.  There are twenty-one forms of Tara, of which Green Tara is the most dynamic manisfestation.  Her powers are associated with overcoming fears, protecting from evil and rescuing all from suffering.