Dhyana Mudra (禅定印 / 禪定印), called the Meditation Mudra, it is the hand position the Buddha assumed when meditating under the Bodhi tree before attaining enlightenment or spiritual perfection and thus is considered the symbol of the attainment of spiritual perfection. Both hands are in his lap, right atop the left, palms upward and thumbs touching, a gesture denoting perfect physical and spiritual balance. The Chinese call this position the Hundred Billion Human Manifestations (Ch’ien Pai Yi Hua-shen) that was based upon Indian models carried to China through central Asia. Often the thumbs touch at the tips forming a triangle which symbolizes the Triratna or the Three Jewels of Buddhism: the Buddha, the Dharma (the Buddhas teachings) and the Sangha (the religious community of monks). It is the most represented pose in Mahayana Buddhism during the Ming through Qing dynasties. As the most revered bodhisattva, Guanyin is often shown in dhyana mudra.
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Irvin calls Guanyin one of the Great Chinese Goddesses who are all imperially sanctioned and epitomize the feminine role of compassionate protectors who grant health, long life and safety to all regardless of their social position. This rare antique Guanyin carving depicts is gender neutral seated on a plain detachable pedestal in meditation (dhyana) with…
Carved wood Guanyin images were enormously popular in China’s provincial regions created by local artisans who did not follow proscribed court artistic rules or iconography and integrated elements from Buddhist, Taoist and Popular Folk Religion traditions into a syncretic blend as one of the Great Chinese Goddesses (Irwin). She sits on a raised lotus rising…
This charming antique Guanyin carving sits in meditation (dhyana mudra), legs in padmasana soles of her upturned feet visible, hands in lap with thumbs lightly touching. Created by provincial artisan as a folk rather than imperial carving to be placed on a personal home altar she has softer and modest facial features and is more…
Guanyin, Bodhisattva of Compassion is a Mahayana Buddhist deity and one of the three Great Chinese Goddesses in China. She sits meditation (dhyana mudra) hands in the lap and feet crossed in padmasana, also called the lotus position, with bare soles of the feet turned upward on a lotus throne atop a two-tiered footed stand….
During the Ming and early Qing dynasties small wood statues of Guanyin were carved by provincial artisans to be placed on a home altar along with other Taoist, Popular Religion and Buddhist statues venerated by rural and less affluent families, especially female devotees. Made of wood, they were modest and reflected the purity of nature….
Nanhai Guanyin of the South Seas images were especially popular during the Ming and Qing dynasties in both the imperially sanctioned and provincial rural traditions; this image reflects both traditions. Carved by a provincial artisan, she is a serene and majestic mature woman with a radiantly warm smile, rounded face and half-closed almond shaped eyes. …
Throughout Burma/Myanmar Shakyamuni Buddha was depicted in lavish royal robes to illustrate the traditional story of King Jambupati and the Buddha. In traditional Theravada Buddhism, Buddha Statues are depicted in simple monks-robes as he renounced worldly goods and desires and rejected his princely heritage. Legend states the haughty King wished to be the world’s most…
Early Chinese Mahayana images portrayed Lohans as followers of the Buddha, living in the human world in human forms .Through their spirituality and asceticism they achieved enlightenment and were no longer subject to rebirths but choose to not enter nirvana and remain as guardians to preserve Buddhist teachings, protect the Buddhist faith and lead others…
This Nanhai Guanyin sits in her cave home on the island of Putuo represented by pierced openwork, craggy surfaces and open area at the cave top. Guanyin’s image almost fills the cave’s opening seated in dhyana (meditation), thumbs forming a triangle symbolizing the triratna, the Three Gems of Buddhism (the Buddha, the Dharma (Buddha’s teachings)…
Nanhai-Guanyin seated in meditation (dhyana mudra) in her Tidal Cave on Putuo is one of the most popular Mahayana Pure Land Guanyin images, especially during the Ming and Qing dynasties, and strongly reflects the Chinese syncretic blending of religious beliefs. Provincial craftsmen portrayed her in to reflect local beliefs, lifestyles and customs that resonated with…
This exceptional carving is form of Nanhai Guanyin which means Guanyin of the Southern Seas, one her most portrayed of her 33 manifestations during the Ming and early Qing dynasties. Her pedestal with hanging foliage and base in the form of stones indicates she is seated on her rocky outcrop on Putuo island in the…
Guanyin means “she who observes the sounds or cries of the world” and in Sanskrit she is named Padmapani or “born of the lotus.” She is one of the Three Great Chinese Goddesses (Irwin). During the Late Ming and Qing Dynasties in rural provincial regions and especially Southern China, Guanyin became a syncretic cult figure…
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