A Buddha statue or painting is called a Buddharupa, “the form of an Enlightened One” in Sanskrit. Cannons were soon developed dictating how he should be portrayed, identifying 32 Buddhist lakshanas “auspicious marks” or physical traits that should be reflected in sanctified Buddha images. They included an elongated body, face, fingers, arms, hands and ears; a tuft of hair between the eyebrows (urna) and a cranial protuberance (ushnisha). His head was to be covered with pointed or spiral curls often referred to as a snail crowned. Lakshanas were closely followed in Theravada Buddhism, but many interpretations and variances were incorporated in Mahayana and later Buddhist sects. He is most often shown seated two positions: meditation (dhyana mudra) which he assumed when meditating under the Bodhi tree before attaining enlightenment that represents perfect physical and spiritual balance and Earth Witnessing (bhumisparsha mudra) as he reaches the right hand to touch the earth to call witness to resisting the temptations of demon Mara and reaching enlightenment. He generally sits on a lotus pedestal or throne called a padmapita wearing a three-part monk’s robe (dhoti). Shakyamuni is the fourth Buddha of the present kalpa (era) and will be followed by the fifth, Maitreya (Mi-lo-Fu) in three thousand years.
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This rare carving of the infant Buddha with well defined features is clearly a provincial rendering that uniquely departs from traditional renderings. He holds a monk’s begging bowl as he points to the heavens and he stands on a lion’s head, as he is the lion of the Shakya clan. Given its small size, it was probably displayed on a home altar.
This magnificently carved Shakyamuni Buddha sits in earth witnessing position called bhumisparsa, at the moment of his enlightenment with his right hand symbolically touching the earth. He displays many characteristics of Southeast Asian Theravada Buddhas especially from Laos with golden skin, a long, curved, flaring earlobes, a large gold conical flame atop his ushnisha and sitting on a high multi-tiered throne. It is richly embellished with metalic green enamel and mother of pearl fingernails that enlighten and add vibrance to this meditative statue.
Given that this image of the infant Buddha is missing both arms it is remarkable that it is remains a powerful yet charming sculpture. Created by a skilled rural artisan from one dense piece of wood, this rare statue of the the young Buddha is a humble child in a relaxed and confident stance with a youthful torso, a round head, bent legs, wearing a modest waist-cloth and standing on a small plain round base.
This powerful, exquisite and rare almost life-size Guanyin seated in teaching mudra to spread the dharma, radiates serene spiritual energy. To optimally enjoy this statue, she should be placed in an elevated position as it was modeled to be viewed from below. Magnificently carved and covered with lacquer, this statue will fill any environment with meditative tranquility. Authentic Buddhist carved images of this size, beauty, quality, and shape are very difficult to find, especially after China’s modernization.
This fine rare Ming/Qing carving depicts Shakyamuni Buddha in meditation is made from fine dense wood with much of its iridescent pigmentation. He is masterfully carved with a serene, benevolent and pensive expression wearing plain but elegantly carved monks robes. This spiritual piece is a small yet very powerful image.
This delicately carved home altar Guanyin is gender neutral in meditation on a lotus throne. Her humble demeanor, modest robes and absence of stylized decorative details exemplify the best of provincial Ming and Qing carvings. She is a tranquil figure with simple, soft, and beautifully rendered facial wearing a five-lobed crown symbolically representing the five Dyhani Buddhas and reflecting Vajrayana Tantric influence.
This rare wood carving of the Buddha as an infant is remarkable because of the way it has survived. As with many antique Chinese wood carvings, there is extensive deterioration from age/insect damage. Although there is total loss to the arms, legs and torso, it is virtually untouched from the neck up. This is a piece for lovers of wood, with the body worn to a delicately smooth but irregular surface. It is probably more striking than original piece, as its erosion shows the random miracle of chance and is highlighted on a frosted acrylic base. .
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This carving is probably Chun-ti P’u-sa, a tantric female deity called the Bodhisattva of Light, worshipped by Chinese Chan (Zen) Buddhists as a merciful Bodhisattva. In tantric style she has three faces, multiple arms and six hands, and an elegant lobed crown centered by Amitabha, as does Guanyin. This is an extremely rare and important piece and is as lovely as it is spiritual.
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