此尊綠度母著典型的菩薩裝，頭戴寶冠、髮冠鏤空外撇，髮髻上有佛塔，身披天衣，胸前、手臂、手腕和腳背戴有瓔珞珠寶，下著垂踝長裙，長裙襬富有層次感、立體感，左手施與願印，右手施說法印，站立於蓮花座上，蓮座左右各插一株蓮花，其間盛開的蓮花上有寶塔與法輪，整體造型優美，修飾細緻，蓮花座是火焰三瓣蓮，是標準元末明初時期官製之蓮花座形式。
The Green Tara is adorned in the typical attire of a bodhisattva, wearing a crown and a hair ornament with openwork outer edges. A small Buddha stupa adorns the top of her elaborate hairstyle. She is draped in celestial garments, adorned with jewels on her chest, arms, wrists, and ankles. She wears an ankle-length flowing skirt with intricate folds that create a sense of depth and three-dimensionality. Her left hand forms the gesture of generosity, while her right hand is in the teaching gesture. She stands atop a lotus pedestal, and on each side of the pedestal, there is a lotus flower with a treasure stupa and a dharma wheel atop the blossoms. The overall sculpture exudes grace and features intricate detailing. The lotus pedestal has a triple-flame design, which is a standard form of lotus pedestal from the late Yuan to early Ming period.
此法像銅胎外先上一層護胎紅漆再鎏金，明中期至清朝和近代，已無上護胎漆之作法，整件胎體有銅胎之氧化效應，與清朝銅鎏金相比，胎體重，也和現代較死沉的銅胎不同，鎏金色澤偏深黃色、較厚，是元末明初時期標準的鎏金方式與銅胎。此件鑄造方式是標準中、大型脫蠟法，局部有微細沙孔，紋飾細膩，與現代用鑄造範沙法製作，光身或紋飾較少的製作方式截然不同。
This gilded bronze statue is coated with a protective layer of red lacquer before gilding, a technique that was common during the late Ming to Qing dynasties and into modern times. The bronze body has undergone oxidation, a characteristic of the copper core, which sets it apart from the relatively heavier and duller modern bronze statues. The gilding has a deeper yellow hue and is thicker, adhering to the standard gilding method of the late Yuan to early Ming period. The statue is crafted using the standard mid-to-large-sized lost wax casting technique, with minute sand pores present. The intricate ornamentation distinguishes it from modern casting methods that involve simpler surfaces or fewer details.
此件曾經長期有香火供養，因此鎏金有百分之九十以上已氧化自然脫落，法像整體有老化包漿現象，手感溫潤，此件有在清朝時期用護胎漆修復的痕跡，此護胎漆顏色較鮮豔，和元末明初時期偏赭色之護胎漆不同。法像本體、左右的蓮花與蓮花座是分開鑄造，再將法像和蓮花插在蓮花座上，鎔鑄固定，內部無裝藏，底盤遺失已久，內部的銅綠是明朝初期的銅綠。
The piece has experienced long-term worship, resulting in over 90% of the gilding having naturally oxidized and worn off. This contributes to the overall patina and aged appearance of the statue, providing a warm and textured feel. There are traces of restoration using lacquer during the Qing dynasty, which differs in color from the reddish lacquer used during the late Yuan to early Ming period. The main body of the statue, along with the lotus flowers on either side and the lotus pedestal, were cast separately and then assembled. The statue was attached to the lotus pedestal through casting, and there are no hidden compartments within the statue. The original base has been lost over time. The green patina inside adheres to the standard green patina of the early Ming period.