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.
Showing 25–36 of 37 results
Rare carving of Guanyin in lalitsana clasping a rosary on a mythical Hǒu curled around her leg. Hǒus symbolize righteousness, morality and usher in peace and prosperity. Fine and rare provincial folk carving is small yet powerful, mounted on Acrylic base.
This rare and intriguing Nanhai Guanyin sits in her cave with internal layers at Putuo. On the top is the donor who commissioned the piece, seldomly placed within the Guanyin tableau.Two levels of attendant pairs flank her: the upper with her two acolytes Longnu, (the Dragon Princess) on her right holding a flaming gem, and Shan Tsai (Sudhana) on her left with hands, now missing, clasped in anjali mudra of reverence and two generic attendants are on the on the bottom. This work is truly remarkable in its execution and iconography.
This delicate small Mahayana Buddhist carving of seated White Robed Guanyin in meditation sits in meditation on a radiating lotus throne symbolizing her enlightenment, rebirth and purity. As a Popular Religion figure, she is humble, modest, relatable, accessible, yet a beautiful matronly figure. This beautiful figurine was placed on a home altar with other spiritual statues and house gods. Mounted on a frosted acrylic base.
This beautiful provincial Songzi Guanyin is modest, compassionate and humble with lotus leaf crown, unadorned robe and pedestal with simple leaves. The “child giving Guanyin holding her baby resembling the infant Buddha was probably on a home altar of wealthy couple desiring a (male) baby.
This red lacquer and gilt covered image made for a home altar is a Pure Land Buddhist statue. Although it is a provincial image it has an elaborate headdress and decorative necklace of imperially sanctioned Guanyin images. Her 5-lobed crown is centered with radiating bars symbolizing Amitabha Buddha and his aureole that represents the flames of Buddhism.
Nanhai Guanyin in her Cave in lalitsana, below draped moss arch holding a scrolls with vial of tears of her humanity and parrot, her constant companion. Small Nanhai images with all these symbols in this condition are very rare.
Rare provincial image of Guanyin tenderly holding a young child’s hand similar to Songzi “Child-Giving Guanyin”. Consecrated with vibrant gilt and red surface in front and back.
Rare provincial home altar consecrated gender neutral Guanyin is in meditation on lotus throne wearing five-lobed crown symbolically representing the 5 Dyhani Buddhas in the Vajrayana Tantric tradition.
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.
This Guanyin image was probably one of a pair of images along with the Taoist Queen Mother of the West (16206A-WACK) placed together on a community, local temple or home altar. Created by the same local artisan, they are provincial rather than imperial style having a humble, unadorned and simple rendering, seated on backless thrones, hands covered by a ritual cloth, uncharacteristic of Guanyin but common for Taoist goddesses. Both wear layered robes and a high pointed crown – the Queen Mother’s centered by a phoenix and Guanyin’s by a flower surrounded by symbolic aureole of radiating light. Both have soft blissful smiles with eyes cast slightly downwards to engage their devotees. Initially covered in bright polychrome colors, there are traces of surviving red, yellow, green, brown and black.
This Queen Mother of the West, the highest ranking female Taoist deity was probably displayed as a pair along a statue of Guanyin, the most significant Buddhism female (Guanyin on a Lotus Pedestal (16206B) highlighting the importance and similarity of these revered female images Like the Guanyin, the Queen Mother’s delicately carved face has half closed eyes, serene composure mouth with a hint of a smile, which is more Buddhist than Taoist. Her headdress, centered by her iconic phoenix, rests under a hood extending to her shoulders and back. She wears a high collared three-layered Taoist robe, her hands covered by a ritual cloth.
This outstanding delicately antique carving is Nanhai Guanyin, the Bodhisattva of Compassion, seated on a rocky outcrop covered with a cloth, a reference to her home in a cave on the island of Putuo in the South China Sea. Other than the Buddha, she is the most revered deity in Mahayana Buddhism and one of…
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