In his excellent article, Lee Irvin notes that female deities have always played a significant role in the Chinese religious pantheon. Three of Chinas great goddess – Xiwangmu (the Taoist Queen Mother of the West), the Buddhist bodhisattva Guanyin and Matsu (The Empress of Heaven) – all share the feminine principles of compassion, receptive nature and association with water and darkness, and all are imperially sanctioned divinities. Revered by all sectors of Chinese society from the endorsed government and religious sectors to the masses who embrace Popular Folk Religion and Taoism as well as Buddhism, their roles expanded from divine personages to also mortals with human expressions, emotions and needs. Each epitomize the feminine role of compassionate protectors and grant health, long life and safety to all devotees regardless of their rank or status. In doing so, they are viewed as interconnected and collectively provide devotees the will and spiritual means to oppose controlling dominant male religious and political forces. All three have popular small local shrines scattered through rural areas as well as large temples and monasteries dedicated to them: the Queen mother in Taoist and Popular Religion places of worship and Guanyin and Matsu in Buddhist and Popular Religion sanctuaries. Guanyin and the Queen Mother are uniquely linked in their roles as guides to a serene death. Guanyin in Pure Land Mahayana belief leads deceased souls to their rebirth in the Western Paradise, which is similar to the Taoist realm into which the Queen Mother guides the deceased.
Source:
Lee Irwin, “Divinity and Salvation: The Great Goddesses of China,” in Asian Folklore Studies, Indiana University, Vol. 49, 1990, pp 53-68.
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Finely carved from dense wood Mazu is the Heavenly Empress on a horseshoe chair, holding official’s girdle, phoenix hat with outstretched wings and cloud collar symbolizing her place in heaven.
White clad Guanyin in royal ease and karana mudra to expel evil, remove problems and rid sickness or other negativities rarely used for Guanyin. Consecrated for home altar use.
Guanyin sits on an elaborate lotus throne held by 8 long stemmed and 1 flat leaf lotus as an enlightened being. 5-lobed crown reflects her stature as Buddhist royalty.
Guanyin’s elegance, compassion and serenity are emphasized in this provincial carving on 3 tiered high lotus throne on a hexagonal base with carved patterns. Portrayed in meditation with flowing robes this consecrated image was designed for personal veneration in a home setting.
Delicately detailed and consecrated Guanyin in meditation on a backless throne, flowing braids, simple necklace, 3-part crown centered with Amitabha Buddha on lotus throne surrounded by a radiating aureole. Compassionate downcast eyes, serene contemplative expression, calm smile to enhance any surrounding.
Guanyin in lacquer and gilt sits on a lotus throne in meditation atop a decorative footed stand, regally depicted with elegantly draped robes and a 5-lobe crown with a cross hatch design. Consecrated for home altar use.
Delicately carved antique Guanyin in meditation, tall 3-lobed crown with flaring triangles and crosshatches. high forehead and oversized head focuses viewer on beautifully formed, quiet and calm face as model of inner serenity
In the Pure Land Buddhist tradition this vibrant provincial Guanyin wears a high crown centered with Amitabha Buddha. Far from imperial influences, this charming carving is a unique eclectic folk art blend of Buddhism, Taoism and Popular Religion. traditions.
Temples for “Heavenly Empress” Mazu in southern China coastal regions protect sea faring peoples. This motherly home altar statue reflects that although childless, she protects her children – her devotees – as a mother. Seated on lucite base.
Small consecrated home altar provincial Mazu, finely carved on armless back chair dressed modestly in peasant robes with a phoenix in her hat, she is motherly figure who protects her devotees as her children.
Home altar provincial Queen Mother carving depicted her as approachable, humble and matronly. Iconic phoenix on headdress. Cavity with original sealed covering indicates it was consecrated.
Mazu, protector of sea, is portrayed as the imperially sanctioned “Empress of Heaven” on an elaborate, horseshoe shaped dragon throne, holding a hu tablet, with elegant dragon robes, official’s girdle, Empress headdress and small feet on gilt fu lion foot rest.
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