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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White Hooded provincial Guanyin in lalitsana depicted as humble with a plain hood, gentle smile, holding a scroll symbolizing the Buddhist sutras in which she is mentioned including the Lotus Sutra Chapter 25. THe back cavity indicates it was consecrated by a Buddhist monk for placement on a home altar .
Rare and beautiful provincial Songzi Guanyin is modest, compassionate and humble with lotus leaf crown, unadorned robe and pedestal with simple leaves. Her baby resembles the infant Buddha. Was probably in a temple setting or on a home altar of wealthy couple desiring a (male) baby.
White Clad Guanyin sits in royal ease her hands in karana mudra on her lap to expel evil, remove problems and rid sickness or other negativities. This powerful mudra is rarely used for Guanyin images. The cavity Consecrated for home altar use.
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…
Seated in lalitsana, delicate consecrated carving of White Robed Guanyin with hood over stylized image of Amitabha Buddha to whom she is a companion in Pure Land Buddhism, the most widespread Buddhist sect.
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