Antique Small Guanyin on Radiating Lotus, China (16534)

Description

Guanyin means “she who observes the sounds or cries of the world” and in Sanskrit she is named Padmapani or “born of the lotus.” She is one of the Three Great Chinese Goddesses (Irwin). During the Late Ming and Qing Dynasties in rural provincial regions and especially Southern China, Guanyin became a syncretic cult figure embraced by Taoism and Popular Religion devotees who placed local artisan crafted images of her on a personal home altar. Many of these Guanyin images were portrayed as modest statues with hooded robes, called white robed Guanyin. Made of wood they represented the simplicity of the flow of life that nurtures all beings rather than from more precious materials such as bronze and marble.

Irvin identifies China’s great 3 goddesses as Guanyin, Taoist Queen Mother of the West, and Matsu who epitomize the feminine role of compassionate protectors who grant health, long life and safety to all devotees. Each is imperially sanctioned and revered by all regardless of status including provincial followers who embrace Buddhism, Popular Folk Religion and Taoism. They all are displayed on home altars, small local shrines and large temples dedicated to them.

This enchanting Mahayana carving depicts Guanyin in meditation (dhyana mudra) on a radiating lotus throne. The lotus is a Buddhist symbol of enlightenment, rebirth, purity. Her face is calm and serene with downcast eyes and topped with a hood  flowing over her shoulder and down her back. A major feature of this charming image is the waisted two tiered radiating lotus base over which her robes flow elegantly in curved patterns. This image was placed on a home shrine, probably along with other Buddhist images and house gods. As a Popular Religion figure, she is humble, modest, relatable and accessible, yet beautiful matronly figure familiar to illiterate populations who enjoyed the many tales and legends about the exploits and deeds of their favorite bodhisattva.

Despite expected cracks on head, front base, other minor cracks and chips and two pieces of rear base that were reattached long ago, this fine carving is in very good condition for its age and use retaining the original bright red and lacquer and traces of gilt highlights. Mounted on a frosted Acrylic base.