度母,梵文为Tara,藏语称“卓玛”,汉译“救度佛母”、“多罗菩萨”。多罗在梵文中意为眼睛,因其产生于大悲观世音菩萨之目而来,又因度母是观世音菩萨化身的救苦求难的本尊,救济诸难,并将诸难送至彼岸,故而得救度之名。度母的信仰在古印度时代就非常的流行,在汉传佛教中,度母被视为观世音菩萨的其中一尊,或从观世音菩萨目光所化现的女性菩萨,而称为“多罗观自在菩萨”或独称“多罗菩萨”。度母是三世诸佛之母和一切众生之母,度母为了不同根器的众生,又化现了二十一度母日、五百度母等等。最常见的度母像为绿度母、白度母两度母。在民间,绿度母、白度母分别被认为是西藏和蒙古的女守护神。

Tara, Sanskrit for Tara, Tibetan called Zhuoma, Chinese translation of "save the Buddha mother", "Dora Bodhisattva". In Sanskrit, Dora means the eye, because it comes from the eyes of the great compassion Avalokitesvara, and because the Tara is the original Buddha of Avalokitesvara's incarnation to save the suffering, to relieve the difficulties, and to send them to the other side, so it is called the salvation degree. The belief of Tara is very popular in ancient India. In Chinese Buddhism, Tara is regarded as one of the Avalokitesvara Bodhisattvas, or the female Bodhisattvas transformed from the vision of Avalokitesvara Bodhisattvas, and it is called "Dora Bodhisattvas in itself" or "Dora Bodhisattvas" alone. Tara is the mother of all Buddhas and all living beings. For all living beings with different root organs, Tara has transformed 21 Tara days, 500 Taras and so on. The most common Tara is Green Tara and White Tara. In the folk, Green Tara and White Tara are egarded as the female protectors of Tibet and Mongolia respectively

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此像发髻高盘,发丝清晰可见,头戴五叶花冠,花冠下余额际还装饰有华美的璎珞,于中原造像中较为少见,当是受到西藏造像的影响。耳边缯带向上翻转,双耳垂肩,饰大耳珰。面相方正,眉间饰白毫,双目低垂,嘴角略向上翘,透露出菩萨悲天悯人之义。上身袒露,腰部微扭,双乳微微隆起,腰腹细软,呈现女性柔美婀娜之姿。上身所著帔帛从双肩绕两臂内侧自然垂下,胸前饰多组珠串式璎珞,装饰繁缛精美。下身着长裙,腰间束带,其左右亦有珠串式璎珞装饰,手腕、臂及足部均佩钏镯。度母坐在双层束腰型莲花座上,双腿直伸,双手当胸捻盛开莲花之茎,手足的关节、肌肉感刻画写实而柔软。台座为双层束腰仰覆莲形式,上下边缘饰联珠纹,莲瓣满饰台座一周,造型挺立,对列工整,瓣头部略向上翘,饰卷草纹,具有永乐前期的典型特点。底下八个剁口分布均匀,整躯造像黄铜铸造,上铜漆为主,胎体厚重,漆色亮丽,身材比例匀称,体态曼妙,衣纹流畅自然,质感极强,体现了汉藏风格的特色,属造像的典范之作。

It has a high bun and visible hair. It wears a five leaf corolla and is decorated with gorgeous wreaths under the corolla. It is rare in Central Plains statues. It is influenced by Tibetan statues. Turn up the ear band, hang the shoulders of both ears, and decorate the big ears. His face is square, his eyebrows are decorated with pekoe, his eyes are lowered, and his mouth is slightly raised, which reveals the meaning of Bodhisattva's compassion. The upper body is exposed, the waist is slightly twisted, the breasts are slightly raised, and the waist and abdomen are thin and soft, presenting a feminine and graceful appearance. The silk on the upper body naturally hangs down from the inside of the two arms around the shoulders, and the chest is decorated with multiple groups of beaded necklaces, which are decorated with exquisite details. She is wearing a long skirt and a belt around her waist. There are also Beaded wreaths on her left and right. She wears bangles on her wrists, arms and feet. The Tara sits on the double-layer waist type lotus seat, with straight legs, hands twisting the lotus stem when the chest, hands and feet joints and muscles are realistic and soft. The pedestal is in the form of double-layer waist girdling and lotus covering. The upper and lower edges are decorated with linked bead patterns. The lotus petals are decorated all around the pedestal. The shape is upright and neat. The head of the petals is slightly upward and decorated with rolling grass patterns. It has typical characteristics in the early stage of Yongle. The lower eight chops are evenly distributed. The whole body is made of brass. It is mainly painted with copper. The carcass is thick, the paint color is bright, the body proportion is well proportioned, the body shape is graceful, the clothing pattern is smooth and natural, and the texture is very strong, reflecting the characteristics of the Han Tibetan style, which is a model of sculpture.