The Bodhisattva Guanyin, one of the most beloved deities in the Buddhist tradition, is the embodiment of compassion and loving-kindness who hears the cries of all beings. She has a central place in Buddhist homes of China and Japan where her name is Kannon. In Guanyin Images her face is always gentle, calm and sweet, reflecting infinite wisdom, serenity, love and compassion and has the capacity to calm those who are angry or in despair, comfort those who are sorrowful, and brings forth feelings of love, devotion and contentment. Her almond eyes are shown half-closed which indicates her perfect harmony of outer and inner life: half of her vision focuses on the outer world, while the other half is focuses internally for self-reflection. She is often shown in lalitsana, the position of royal ease symbolizing that as a regal personage, she presides over the material world and its possessions as well as the spiritual world. She often hold a scroll which may represent the dharma which she constantly reads or the Lotus Sutra that focuses on Guanyin as protector of the world in the time between the departure of Buddha Shakyamuni and the appearance of the future Buddha, Maitreya. Buddhist statues of enlightened beings are placed in temples, monasteries or home shrines as a reminder of the spiritual potential inherent within all of us.In the Ming and Qing Dynasties she became a popular Taoist and Popular/Folk Religion cult figure where local artisans created a new genre dressed in humble robes and simple features blending spiritual and folk traditions. Of her 33 manifestations, the most common at that time were Nanhai Guanyin, Songzi Guanyin and White Robed Guanyin. Lee Irvin includes her as one of the Chinese Great Goddesses along with Mazu and the Queen of the West, all strong female deities who help those in distress no matter what their status.
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This Nanhai Guanyin (Guanyin of the South Sea) sits in her cave on Putuo island in the South China Sea with most of her traditional features. She is portrayed as White Hooded or Clad Guanyin with her hair in a bun covered with a short hood seated in royal ease (lalitsana) with her right hand…
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.
Large provincial Guanyin is natural and modest rather than idealized in relaxed lalitsana pose. Remarkable oversized crown centered with rustic Amitabha on a lotus with pointed aureole. This personalized depiction is a charming, innocent portrayal of a spiritual subject.
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…
Vintage Thai cast bronze White Clad Guanyin in meditation on multi-tiered throne holding vial of precious dew with image of Buddha Amitabha under hood. Vision of compassionate serenity, half closed eyes and benevolent smile.
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