My favorite work of art is Sitatara or White tara by Mongolian first Gegeen Zanabazar.

(WHITE TARA, TSAGHAAN DARI EH) which was created by Zanabazar (1635-1723) late 17th-early 18th century. The material is Gilt bronze, height:27 1/8 in. (69.9 cm) Diametre:17 5/8 in. (44.8 cm).

The White Tara, "A Gem to Increase Life and Wisdom." Its opening verses may well have been the inspiration for Zanabazar's image of White Tara, the goddess who, above all others, filled the hearts of Tibetan and Mongolian Buddhists with her compassion and with the hope of long life:
The Mongolian Bogdo Gegen, Zanabazar, received his own devotion to Tara through two transmissions of Atisha's teachings, the first (as outlined above) via the Gelugpa adoption of Kadampa precepts, the second inherently, by way of his immediate preincarnation, Taranatha (1575-1634). Taranatha belonged to the Jonangpa, an offshoot of the Sakyapa (whose lamas also wholeheartedly shared Atisha's reverence for Tara) and was one of the greatest of Tibet's religious historians. His Origin of the Tara Tantra, written in 1604, deals with the source of the tantra and its promulgation, and it is he who is credited with the diffusion and promotion of the cult of Green Tara, and with fashioning its mature form.There are a few scattered records that document Zanabazar's relationship to Tara; certainly images he made of her in her many forms dominate his extant works. In 1649, when he went as a fifteen-year-old boy to Tibet to receive consecrations from the Panchen and Dalai lamas, he was also recognized as Taranatha's rebirth. Before returning to Mongolia, he traveled to monasteries where he had spent his earlier lives, collecting, among other things, the goddess's texts and images. Legend also has it that Zanabazar had a beautiful consort, the Girl Prince, who was as deft a sculptor as he. She died at the age of eighteen and her ashes were used for printing scriptures. Zanabazar is said to have modeled his Taras on her, the White Tara shows her as a young virgin, the large Green Tara in her last year, as a physically mature, voluptuous woman.

Zanabazar's White Tara was originally kept at the monastery at Erdeni-zuu, and in scale, style, and detail she approximates his extraordinary group of the Five Meditation Buddhas. His Tara is a pubescent girl, exquisite in form and with an expression of focused, serious compassion. She appears just as the First Dalai Lama, Gedendrup, describes her in his poem, where she is revealed as the "Spiritual Mother" of the Buddhas, as the "Refuge of the World," and as she "whose head is adorned with Amitayus, Buddha of Boundless Life."

White Tara sits on a moon-disc placed on top of a single lotus pedestal, erect and alert, and without any of the activating dÈhanchement usually seen in images of her. Nonetheless, her posture and even her flesh appear remarkably natural; Zanabazar's abstractions take the subtler form of perfectly exquisite surface and proportion. Tara lowers her right hand in a gesture of "Supreme Giving," and holds a white lotus in her left. Her hands and feet are inset with eyes; she also has a third eye in her forehead, but even these extraordinary attributes seem natural. Her "sapphire tresses" are half-knotted and half-free, and she wears a five-pointed crown that transforms itself into a kirtimukha (a protective, terrifying halo-face) at the front. Elaborate earrings and fluttering, flattened scarves surround her elongated ears, and her body is adorned with the spare, elegant jewelry of a bodhisattva, typical of Zanabazar's Nepalese-inspired sensibility.
The First Dalai Lama's poem (as well as his invocation to the goddess) specifically appeals to her for long life, but it also prays for protection from danger, and access to enlightenment, hopes that are inextricably intertwined. This vision of Tara as the source of long life is based on Vagishvarakirti's revelations, which saw Tara as a sixteen-year-old girl, in every way the antithesis of death, and his dream of the goddess is perfectly captured by Zanabazar's calm, yet energized image. In the most basic sense, Buddhists in Tibet and Mongolia saw the offerings, praises, and prayers they offered to Tara as an "initiation into life," and as a way of extending and prolonging the unique opportunity for enlightenment that only human life presented.