Antique Nanhai Guanyin Lotus Throne, Amitabha in Crown, China (16145)

Description

Nanhai Guanyin sits on a rocky outcrop with stylized draped moss below her rounded robe.  In pensive meditation – hands in dhyana mudra with thumbs touching and covered legs in padmasana – she gazes down with half closed eyes Her finely carved face is framed with hair looped over her pendulous ears signifying her wisdom and enlightened status, braids down her shoulders and a top chignon, an elegant hair style signifying her regal status.  As a Pure Land Buddhism image, her most distinguishing feature is her elegant, scalloped crown centered by the Amitabha Buddha (also called Amitayus) of Infinite Light. The ancient Indian Buddhist Sutra on the Contemplation of Amitayus describes Guanyin (who at that time was called Avalokiteshvara) wearing a heavenly crown highlighting the importance of the bodhisattva crown to bestow a divine and solemn quality in Pure Land Buddhism. The Amitabha image reflects the close relationship between Guanyin and Amitabha as her teacher, for which she is his principal attendant. The lines surrounding the Buddha are his radiating aura. She sits on a base of three lotuses, This wonderfully carved Nanhai Guanyin statue is notable for its highly ornate and beautiful diadem centered by an elaborately framed image of Buddha Amitabha seated in meditation. Her vibrant aura radiates spirituality and opulence, serenity and strength, as well as compassion and grace, making this statue a truly masterful piece of art.an open one surrounded by two closed ones. An open lotus symbolizes enlightenment and a closed one the potential for enlightenment. Amitabha created the Western Paradise called Sukhavati, a land of happiness without suffering. Upon their deaths Guanyin leads practitioners to Sukhavati where they study the Dharma with Amitabha surrounded by magnificent gardens with huge lotus flowers. As most antique wood carvings, the original bright polychrome, gilt and lacquer have faded. Parts of the front of her garment were repainted in the past, often done by monks to preserve the carving.  Although having minor losses and surface cracks, this very dense carving is in very good condition.