Meaning “royal ease” or the “royal position, lalitsana is a relaxed pose in Buddhist and Indian art used mainly for bodhisattvas, especially Guanyin. The figure is typically seated on a throne with the left leg tucked inwards and the right dangling so that it rests on the ground or on an object. It was one of the most depicted postures in the Tang dynasty but appears frequently in Ming and Qing images.
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During the Ming and Qing dynasties, artists created small scale icons of Bodhisattva Guanyin and other deities for private use on a home altar and in local temples and shrines. While more sanctioned images and those made for wealthier devotees were created in porcelain, jade, bronze and ivory, those created for Popular Folk Religion, Taoist…
During the Ming and Qing Dynasties, the cult of Songzi (“Child Giving”) Guanyin, the Buddhist bodhisattva of compassion, became one of the most popular religious movements especially among Popular Religion and Taoist female and male devotees. It reached all Chinese regions and social strata and included the upper classes, court figures and the literati as…
This striking, beautiful and sensitive carving is White Hooded (also White Clad or White Robed) one of the most frequent portrayed of her 33 manifestations. Introduced in 10th century Song Dynasty this manifestation portrays her as a humble and modest deity reflecting the features of an ordinary Chinese female, her face cast down in serenity…
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…
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