Buddhists have used images of enlightened beings including Buddhas, Guanyin, Bodhisattvas, Lohans, and monks 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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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 rare, sensitive and beautifully carved image probably depicts Guanyin the Bodhisattva of Compassion holding a young child’s hand glancing down with compassion and tenderness while he looks up for assurance and protection. This unique provincial Popular Religion carving depicts her as humble, engaging and modestly clad with a serene softness. It is similar to but different from Songzi Guanyin, the “Child-Giving Guanyin” to whom couples pray to become fertile and to bear a son.
This large exceptionally impressive carving is the Taoist fertility goddess Niangniang, “The Maiden Who Brings Children” often portrayed similar to Songzi Guanyin. Created by a provincial artisan, she is charming, humble, has beautiful features is portrayed with three diminutive children and is represented as an empress figure in Taoist attire. This is a rare and truly magnificent carving.
This outstanding rare Guanyin carving is a wonderful blend of Mahayana and Tantric (Tibetan) Buddhism and provincial Popular Religion folk traditions. Seated on a lotus above a hexagonal throne, right hand in abhaya protection mudra, her lobed crown is centered with Amitabha Buddha inside an aureole. The four agonized creatures struggling to hold calm Guanyin on their shoulders is a Tantric symbol of triumph of Buddhism over ignorance. With admonitions about greed, aversion and ignorance it is a great metaphor for our times.
This delicate Pure Land school Guanyin in meditation sits on a remarkable, intricate and unique throne. Held up by a lotus stem in the center and surrounded by 9 lotus stems and flowers around the outside, it rests on a footed base. With fine details and faded gilt surface it creates an aura of serenity and peace.
In this provincial carving made for personal use, Guanyin the Bodhisattva of Compassion who hears the cries of all beings, sits in meditation with flowing robes, half closed eyes, a round face and a slight smile, the embodiment of loving-kindness. Her 5-lobed crown is centered with radiating lines symbolizing the aureole of the Amitabha Buddha of Infinite Light.
This lacquer woodcarving is a Guanyin manifestation called “white hooded,” “white clad” or “white robed” Guanyin derived from the many paintings where she is clad in white. Although wood carvings usually portray her clothed in red, this finely carved version is covered in a lacquer coat that darkens naturally over time and darkens even more when honored on a home altar with daily prayers and offerings of smoky candles and burning incense.
This remarkable figurine is Guanyin on her mythical mount, the Hǒu, guardian master of the universe and model for righteousness and morality who symbolizes bringing forth peace and prosperity.The round orb in its mouth representing a pearl can be rubbed for good luck. It is one of our most unique and favorite Buddhist statues, mounted on a frosted Acrylic stand.
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 and imparts a sense of serenity and peace.
In this elegant and vibrant carving Guanyin sits in meditation. her beautiful, serene face elegantly carved in contemplation withbud-shaped lips softly set in a welcoming and benign sweet smile wearing a five-lobed crown. 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.
This antique carving is a magnificent example of provincial Buddhist statues made by local artisans.This serene exquisitely carved Guanyin sits on a detached pedestal base in meditation. Made to be seen in the round, she wears a traditional three part garment with delicate incised leaves and leaf motifs on the front, back, and sleeves. The gentle, sweet face is soft and set in a peaceful and calming half smile. Her high pointed crown depicts the Five Tantric Dhyani Buddhas, which we have rarely seen in Guanyin provincial images. .
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