Rare Ming Amitabha Buddha of Western Paradise, China, (17016)

Description

By far, the largest Chinese Buddhist Sect, Pure Land Buddhism centers on veneration of Amitabha, the Buddha of Infinite Light. He is also called Amituofu in China, Amitāyus (meaning “Infinite Life) in Tibet and Amida in Japan. Upon achieving enlightenment, Amitabha made 48 vows, the most important was to establish a place free from human suffering where he could teach devotees the Dharma (Buddhist law) in a peaceful environment and help them attain enlightenment. To fulfill these vows, Amitabha created the Pure Land Western Paradise called Sukhavati, the Land of Ultimate Bliss. A central part of his teachings was the that devotees can attain rebirth in the Pure Land through cultivating a deep faith in him, making sincere vows to be reborn there, and reciting Amitabha’s name “Namo Amituofo” (Homage to Amitabha Buddha) with unwavering focus. This makes rebirth in the Pure Land attainable by all regardless of past karma or level of spiritual attainment, embraced by lay people and monastics and in all social strata.

Upon arriving in the Pure Land, sentient beings are freed from the cycle of suffering and can fully devote themselves to Buddhist practice and eventually attain Buddhahood. The Western Paradise is a haven of happiness without suffering surrounded by magnificent palaces, golden sands and fields with jeweled trees and giant vibrant lotuses enriched by the melodious sounds of birds singing in harmony accompanied by thousands of musical variations.

Antique statues of Amitabha often depict him as an impressive and noble standing figure with hands in Raigo Mudra (welcoming hand position) as he receives devotees into his Western Paradise. Both hands extend palms facing outwards, the left arm hangs at his side and the right is bent at the elbow. His gentle expression and half-closed eyes reflect inner serenity, inviting viewers into contemplation and encouraging their aspirations for rebirth in Sukhavati. His cobalt blue hair is portrayed with tightly wound snail-like curls. His modest three-part monk’s robe with a shawl is draped over his shoulders and a curved undergarment gathered at the waist cascades to the top of his bare feet. The back consecration cavity is modest square given the size of the carving. The front of the piece is in excellent condition with damage to 2 fingers and the back shows signs of ware common in Ming carvings.