Putuo also known as Putuoshan or Mount Putuo, renowned for its beauty, spirituality, and natural wonders, is one of four Chinese Buddhist Mountains, each presided over by a major Buddha or Bodhisattva. It is Guanyin’s sacred mountain and her Bodhimanda, a Pali word meaning “place of enlightenment.” In the Sung Dynasty Putuo became the Guanyin’s residence in Mahayana Buddhism and by the Ming dynasty, it became the center for Guanyin worship that resulted in a new authorized manifestation of Guanyin called Nanhai Guanyin. Many carvings represent Guanyin in her cave on Mount Putuo where she spend nine years performing acts of merit, attained Buddhahood and acquired her two acolytes Shen-tsai and Lung-nu. Putuo was also considered a Sacred Taoist Mountain revered for more than 2000 years as one of the places where the Taoist pill of immortality was created.
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Rare provincial white hooded Nanhai Guanyin in Cave below openwork draped moss and barbed rocks holding precious scrolls, with vial and parrot. Open lotuses symbolize her purity and enlightenment, closed lotuses potential for enlightenment of others.
Rare magnificent Nanhai Guanyin on Mount Putuo seated as a triad with acolytes Shan Tsai hands in prayer and the Dragon Princess offering the “illuminating pearl.” Consecrated by a Buddhist monk and mounted on an Acrylic base is one of our favorite VA collection carvings.
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 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.
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