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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.
One of the most popular Mahayana Pure Land Buddhism depictions of Guanyin, especially during the Ming and Qing dynasties, is Nanhai Guanyin shown here symbolically on a stylized rocky outcrop at her cave at Putuo in meditation (dhyana), legs in padmasana under her robes, flanked by twisted columns one topped by a vial placed on…
This exquisite 18th-century statue of the Bodhisattva Guanyin is seated in serene meditation. She is a beautiful young woman, unpretentious yet elegant with smooth, gentle flowing lines that create an air of peaceful spirituality. Every strand of her hair and bun is carved with definition, and in perfect order. The original polychrome and lacquer finish has transformed into a glowing silver hue with a soft patina.
This exceptional naga was one of two that comprised a gong stand. Gongs were used in Burma for both ceremonial and musical purposes in religious, state, or secular settings. A protection figure, this naga is a superb carving elaborately decorated with gold lacquer and pigmentation. He opens his mouth wide bearing mother-of-pearl teeth and a curled blood red mouth and tongue to drive away malevolent spirits, also reinforced by the large glaring eyes circled in red. On first glance it is menacing, but its history as a protector of Buddha Shakyamuni make it prized as a fanciful, gleeful guardian. His scales are arched relief designs of mixed lacquer and ash and they are highlighted with inset cut mirrors and green sequin-like glass “jewels.” It is mounted on a museum quality stand and is in excellent condition for its age and use despite missing an ear.
This rug was made in China for Vajrayana/Tibetan Buddhists who were taught this form of Buddhism by Tibetan monks invited there to teach Tibetan Buddhism. Rugs like this were made both for domestic Chinese use and for export to Tibet. Made from wool and natural dyes, this fringed small square has a cotton foundation and…
This mid 20th century Buddha Shakyamuni in Earth Witnessing position is carved in rural Lao style. Covered with gilt, the small rustic and simply carved image follows Lao artistic canons for depicting a Buddha: a curved hairline and high arched eyebrows that meet at the bridge of the nose, distinct hair curls, long ears, and a flame-shaped radiance emerging from his ushnisha. Its very large base is as tall and wide as the image, reflecting Laotian beliefs that a high pedestal reflects a deep respect for the Buddha. A base has been added for display purposes. Authentic old Lao images, even small personal ones like this, are difficult to find.
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 Nepali brass Buddha in teaching mudra standing on pedestal with 2 Buddhist lions, wearing “wet style” close fitting monk’s robes covering idealized body under drapery. Removable full body aureole with foliate designs.
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.
Made in Pagan this miniature hsun ok demonstrates the remarkable sense of design of Burmese wood carvers. It is crafted in two separate parts and replicates the shape of larger hsun-Ok, which traditionally have covers with spired lids topped by elegant finials that imitate the soaring outline of Burmese stupa finials. This modest piece has circular tiers repeated on the foot and the stupa finial top.
Given its size this smaller early 20th century Hsun-ok with simple sophisticated designs may have served as a decorative piece with parallel rows of intricate triangular and beaded borders.
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