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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Small mage of Queen Mother carved by provisional artisan depicts her as humble and matronly with iconic phoenix on headdress for placement on a home altar. Cavity with original sealed bung indicates it was consecrated.
In this Pure Land large provincial carving Guanyin is more human and humble than idealized. The center lobe of this splendid oversized crown with gold has a deeply carved rustic Amitabha Buddha on a lotus surrounded by a pointed aureole. She is less formal with bright colored peasant garments, a relaxed laitsana pose with both legs relaxed and bent, bare feet dangling above the pedestal and her less formal teaching hand position. Quite unusual, it is a charming, innocent portrayal of a spiritual subject.
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.
This provincial Nanhai Guanyin sits with her palms at her heart in anjali mudra, a mudra of offering rarely used for Nanhai Guanyin. She sits on a two tiered lotus throne on a lotus at the entrance to her Tidal Cave on Putuo under a craggy rock outcrop framed by pierced openwork. Placed on a home altar, her modest presentation reflect local beliefs to resonate with provincial populations.
This white hooded Nanhai Guanyin sits in her Cave o Mount Putuo below an arch of openwork draped moss and barbed rocks, a vial and parrot at her side, holding scrolls that represent the sutras with which she is associated. She sits in modified lalitsana atop an open lotus symbolizing purity and enlightenment surrounded by 2 closed lotuses symbolizing the potential for enlightenment.This rare provincial image was used for placement on a home altar.
Carved from one piece of wood, triad depicts Nanhai Guanyin and 2 acolytes (one deteriorated) , crown centered with Amitabha Buddha in meditation bordered by flames of Buddhism.
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.
Nanhai Guanyin in her Cave in lalitsana, below draped moss arch holding a scrolls, next to vial of humanity’s tears and parrot, her constant companion. Small Nanhai images with these symbols are very rare.
Provincial carving with iconic phoenix headdress, hands in karana mudra to cast out demons, negative energy and purify spaces. Image was on home altar and consecrated with a sealed cover.
Rare Queen Mother on horseback symbolize harmony with nature, magnificent headdress with phoenix, holds elixir of immortality cup granting eternal life.
Rare statue of Guanyin held up by 4 creatures in hell remind us that people, like demons, can change and reach enlightenment. Demons are just obstacles – greed, aversion, and ignorance – to overcome through good deeds and thoughts,
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