Antique Rare Nanhai Guanyin with Parrot and Vial, China (19508)

Description

This Nanhai Guanyin diorama is a phenomenal, piece of folk art with an incredibly complex layout with all of its most fragile iconographic elements wonderuully preserved. Guanyin’s face is beautifully rendered in a classic provincial style -heavy-lidded eyes, softly defined cheeks, and a small, delicate mouth. Her hair is elegantly gathered into a high, smooth topknot. The soft pinkish flesh-tone pigment remains heavily concentrated around her neck and the borders of her hairline. She sits in meditation on a round pedestal rock at her Cave on Mount Putuo represented by arched overhead covering and indentations symbolizing the cave’s bottom. Her  spectacular lotus throne has a large central lotus flower blossoming downward over the rustic log base, flanked by wide, turned leaves. Five lotuses hold her up – the middle fully open, 2 sides partially open and farthest ones symbolizing potential for devotees to reach enlightenment. In lalitsana (royal ease), she draws her right leg up with relaxed arm and hand resting on it.  Her left arm holds a scroll symbolizing the dharma or Lotus Sutra which describes Guanyin’s magnificence. The parrot on her right symbolizes piety. The Pure Land is home to parrots who help those who have achieved rebirth in the Western Paradise. On her left is a vial with amitra, the precious dew of compassion, healing and immortality she uses to bless all beings.Her oval face is bent forward with downcast eyes in  contemplation. In this provincial carving she is a matronly figure but with gilt on her robes. As one of the Great Chinese Goddesses (Irvin), Guanyin is worshipped by Buddhist, Taoists, and Popular Religion devotees.

The statue has a wonderful blend of finishes. Her robes retain extensive remnants of original gold leaf (gilt) over red lacquer, while her chest and face show a soft, pinkish skin-tone pigment over a thick white gesso base. The surrounding rocky grotto is finished in a heavily textured, dark matte mineral pigment mimicking natural stone. It is  in very good condition for its age and use although there are losses to the surface, part of the overhand is missing and the vial and parrot were replaced at a later time in t he past, common for religious carvings.

Source:
Lee Irwin, “Divinity and Salvation: The Great Goddesses of China,” in Asian Folklore Studies, Indiana University, Vol. 49, 1990, pp 53-68.

AI Summary Comments

This is one of the most highly collectible forms of provincial Chinese woodcarving available. Carving a full narrative diorama (figure, lotus throne, cave, parrot, and vase) out of a single, compact block of wood requires immense planning and masterful chisel control. The texture on the overhanging cave roof is magnificent.