Buddhist art includes statues, paintings and ritual items associated with Buddhism. Buddhists have used painted and carved images of enlightened beings including Buddhas, Guanyin, Bodhisattvas, Lohans, monks and other deities, attendants and acolytes for nearly two millennia to show devotees how Truth can be found within oneself through meditation and spiritual training. Statues of the Buddha and other enlightened beings are placed in temples, monasteries or home shrines as a reminder of the spiritual potential inherent within all of us to awaken to the Truth as the Buddha, a fellow human being, did. When one pays reverence to Buddhist images, they are not worshipping the image, rather the image reminds them of the great compassion of the Enlightened Ones who have taught them the way to liberation.
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Guanyin’s elegance, compassion and serenity are emphasized in this graceful antique provincial carving. Portrayed in meditation with flowing robes on a majestic three-tiered lotus throne she was designed for personal veneration in a home setting.
This delicately detailed Guanyin statue seated in meditation on a two-tiered backless throne has flowing braids, simple necklace, and voluminous robes indicate her regal status, while her pendulous ears, compassionate downcast eyes, serene contemplative expression, and calm smile symbolize her enlightened status. The image’s distinguishing feature is its deeply carved three-part diadem (crown) centered with a carved Amitabha Buddha on lotus throne surrounded by an aureole.
Guanyin is portrayed in this gilt and lacquer carving seated on a lotus with her hands in the lap in meditation mudra atop a decorative footed stand in elegantly draped robes. In this regal form, she wears a 5-lobe crown with a cross hatch design in the center while her hair rests atop her head in a bun encircled within the crown.
Made for placement on a home altar, this small Guanyin sits in lotus position (padmasana) feet upward and exposed, hands clasped in anjali mudra of prayer, reverence, respect. With a full face and downcast eyes, she is depicted in modest provincial style with symbols of her bodhisattva status: a 5-lobed diadem, hair in a chignon, braids draping down her shoulders, and a flowing robe. Her pendulous ears are a sign of wisdom, her ability to hear the cries of sentient beings, and her spiritual awakening. It is covered with gilt as a sign of her enlightened status.
The delicately carved antique Guanyin sits in dhyana (meditation) her head bent in serene peacefulness. The unusually large back cavity indicates it was consecrated by a Buddhist monk in an eye-opening ceremony and placed on a home altar. Masterful yet simple, this provincial image brings quiet energy to its surroundings.
In this elegant and vibrant carving Guanyin sits in meditation and feet in padmasana. Her beautiful, serene face is elegantly carved in contemplation with half-closed eyes and bud-shaped lips softly set in a welcoming and benign sweet smile. Her forehead is framed with soft curls and long hair drawn into chignon set behind her striated five-lobed crown and falling in knotted braids to her shoulders. Wearing elegant long flowing gilt and red robes, she sits on an open lotus with a vertical post at her sides; her sacred vial on her right and a parrot on the left. Antique carved i Guanyin statues with her symbols in this condition are quite wonderful and rare and impart a feeling of serenity to the environment around them.
Statues like this Guanyin in the Mahayana Pure Land Buddhist tradition were especially popular during the Ming and Qing dynasties. This carving epitomizes the best of folk art spiritual traditions of provincial artisans who replaced imperial constructs with provincial depictions that combined Buddhist, Taoist and Popular Religion traditions. Humble, charming and approachable portrayals of Guanyin like this were placed in homes and temples in provincial areas.
Each of this whimsical gold and red-burgundy lacquered pair of male fu lions sits erect on a high pedestal heads thrown back with flaring ears and bulging eyes, decorative stylized manes and a small bushy tail. Their spirituality is displayed by the pair silently emitting the blessed mantra “aum”: the open mouthed lion forming an “au,” and the other completing it with a closed mouth to form “mmm.” The workmanship on these pieces is masterful, although rustic and provincial, and they are rare with their Buddhist symbolism and because most pairs of carved fu lions were lost during China’s modernization.
This antique fu lion pair with candle holders arising from their backs look like they sprung from the mind of a Disney artist – they’re whimsical, have exaggerated features, possess a modicum of power, and command our attention while making us smile. In Buddhist traditions, fu lions were more friendly than fierce, with open mouths displaying teeth in a fanciful almost grinning pose. Following artistic traditions: they sit with forefeet on the ground, have thin bodies with rows of hair, a three-part tail, and are covered with auspicious reds and gilt. This endearing, fanciful, quirky, and delightful additions to any environment.
During the Ming and Qing dynasties, small fu lion pairs were very popular accessories. As protectors of Buddhism, they are both menacing and friendly and this remarkably fanciful pair of crouching beasts joyously reflects both traits, with floppy ears, smiling open mouthed faces with tongues hanging out, and curled tails versus bushy eyebrows, bulging eyes and long pointed nails. As originally decorations on furniture with flat rear sides, they can stand alone as decorative accessories or even be a great pair of bookends. However they are used, they are guaranteed to bring a smile to those who are fortunate to see them on a regular basis.
This superb, colorful and rare carved Buddha is seated in vitarka-mudra, the taching hand position. His delicately carved calm face has a benevolent and compassionate expression with a slight reassuring smile. The elegant body appears to float above deeply carved swirls reminiscent of clouds. Fine facial features, the graceful body and exquisitely carved and painted drapery make this a truly impressive and striking image. Given its size and masterful carving , it should hold a place and be revered commensurate with its spirituality and artistry.
This extraordinary Guanyin originates from rural provincial less literate China. Not made in a sophisticated “imperial” style, its great charm depends on straightforward forms in bright and decorative color combinations. She sits on a backless throne resting on a lotus pedestal held up by a stem flanked by lotuses facing out in a royal ease (lalitsana) and her right hand is a relaxed vitarka mudra. Her oversized crown contains a framed Amitabha Buddha. Using vibrant unusual multi-colored color combinations, an informal sitting position, simplified, almost geometric shapes for the head and facial features and bright modest robes, she reflects a humble folk-art image very accessible to rural devotees. Its size indicates it was carved for a large home, clan or community temple.
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