淨土宗 The central idea of Pure Land Buddhism, the largest Chinese Mahayana Buddhism sect, is anyone chanting the name of Amitabha Buddha with total concentration and devotion may be reborn in Amitabha’s Western Paradise (Sukhavati), known as the Pure Land and will remain in that beautiful land free from pain and want studying the Dharma with Amitabha until they are ready for final enlightenment. Some believe those ready for the path to enlightenment arrive in the Pure Land on an open lotus; those requiring additional effort are brought to the Pure Land inside a closed lotus and returned to earth to further purify themselves by following Buddhist principles.
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In this provincial carving made for personal use, Guanyin the Bodhisattva of Compassion who hears the cries of all beings, sits in meditation with flowing robes, half closed eyes, a round face and a slight smile, the embodiment of loving-kindness. Her 5-lobed crown is centered with radiating lines symbolizing the aureole of the Amitabha Buddha of Infinite Light.
This delicately detailed Guanyin statue seated in meditation on a two-tiered backless throne has flowing braids, simple necklace, and voluminous robes indicate her regal status, while her pendulous ears, compassionate downcast eyes, serene contemplative expression, and calm smile symbolize her enlightened status. The image’s distinguishing feature is its deeply carved three-part diadem (crown) centered with a carved Amitabha Buddha on lotus throne surrounded by an aureole.
In this elegant and vibrant carving Guanyin sits in meditation and feet in padmasana. Her beautiful, serene face is elegantly carved in contemplation with half-closed eyes and bud-shaped lips softly set in a welcoming and benign sweet smile. Her forehead is framed with soft curls and long hair drawn into chignon set behind her striated five-lobed crown and falling in knotted braids to her shoulders. Wearing elegant long flowing gilt and red robes, 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.
Statues like this Guanyin in the Mahayana Pure Land Buddhist tradition were especially popular during the Ming and Qing dynasties. This carving epitomizes the best of folk art spiritual traditions of provincial artisans who replaced imperial constructs with provincial depictions that combined Buddhist, Taoist and Popular Religion traditions. Humble, charming and approachable portrayals of Guanyin like this were placed in homes and temples in provincial areas.
This extraordinary Guanyin originates from rural provincial less literate China. Not made in a sophisticated “imperial” style, its great charm depends on straightforward forms in bright and decorative color combinations. She sits on a backless throne resting on a lotus pedestal held up by a stem flanked by lotuses facing out in a royal ease (lalitsana) and her right hand is a relaxed vitarka mudra. Her oversized crown contains a framed Amitabha Buddha. Using vibrant unusual multi-colored color combinations, an informal sitting position, simplified, almost geometric shapes for the head and facial features and bright modest robes, she reflects a humble folk-art image very accessible to rural devotees. Its size indicates it was carved for a large home, clan or community temple.
In this provincial carving for private devotion on a home altar, Nanhai Guanyin sits in tranquilly in anjali mudra at her cave home on Putuo on a lotus throne set on an open lotus framed by a backdrop arch of openwork with pierced cut outs. She wears a five-lobed crown and flowing robes symbolizing her regal status in contrast to her modest robes. Few small Nanhai Guanyin figures have survived, and they are highly prized. In feng shui, Guanyin statues should be in the center of the home to bring blessings to the entire home.
This charming extremely well-modeled carving depicts a White Robed Nanhai Guanyin in her Cave on Mount Putuo seated on an open lotus in lalitsana below an arch of draped moss . Nanhai Guanyin was massively popular in the Ming/Qing dynasties when provincial wood images were made for home altars throughout China. She holds a scroll representing Buddhist teachings accompanied by a vial with the tears of humanity and a parrot, her constant companion. Small home shrine Nanhai images with all these symbols are rare.
This enchanting carving depicts Nanhai Guanyin in her Cave on Mount Putuo seated in lalitsana, below a symbolic arch of draped moss with bright pigmentation and considerable gilt. Nanhai Guanyin was massively popular during the Ming/Qing dynasties and provincial wood images were made home altars throughout China. She holds scrolls representing the dharma and sutras, behind her is a vial with the tears of her humanity and parrot, her constant companion. Small Nanhai images with all these symbols in this condition are very rare.
This delicately carved home altar figure is Guanyin represented as gender neutral in meditation on a lotus throne. Her humble demeanor, modest robes and absence of stylized decorative details indicate it was carved by a provincial artisan, and its simple elegance exemplifies the best of provincial Ming and Qing carvings. She is a tranquil figure with simple, soft, and beautifully rendered facial details with almond shaped eyes cast down in serene composure wearing a five-lobed crown symbolically representing the five Dyhani Buddhas and reflecting Vajrayana Tantric influence.
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 remarkable spiritual work combines characteristics of provincially rendered carvings with imperially sanctioned images of Nanhai Guanyin. She sits in meditation on a backless throne on a stylized rocky outcrop flanked by twisting vertical structures holding her vial and white parrot. Her half-closed eyes glance down serenely under painted arched eyebrows. She wears an arched crown over hair looped over her ears and down her shoulders and flowing gold robes bordered in red in contrast to the flesh tones of the face, chest, and hands. Much of the pigmentation and gilt on this artfully rendered image remains. Surviving depictions of her with the vial and the filial parrot in good condition are relatively rare.
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