Buddhism was introduced to China from India in
the early years of the first millennium. This
statue represents the bodhisattva of mercy,
known as Avalokiteshvara (or Guanyin in
Chinese). Bodhisattvas were originally depicted
as the Buddha’s attendants but increasingly
came to be venerated in their own right. Usually
dressed in elaborate attire, bodhisattvas were
enlightened beings who had chosen to delay
their entry into Nirvana to help other sentient
beings end the cycle of birth and rebirth.
Avalokiteshvara is identifiable by the small
seated Buddha that appears in the headdress.
This figure was immensely popular in China and
it has been estimated that by the Tang period the
number of images outnumbered those of the
historical Buddha Shakyamuni. Although
Buddhist texts do not specify the gender of
bodhisattvas, the early examples tend to be
male. From the end of the Song dynasty (1279)
this trend was reversed and by the Ming period
such images are clearly feminine.
In this sculpture Avalokiteshvara is seated on a
carved base resembling the trunk of a tree. The
figure’s left leg is positioned downwards, resting
on a protruding plinth. The right leg is bent
inwards on the stand with the sole of the foot
revealed. The positioning of the arms, one raised
and one lowered, lends the figure a pleasing
visual balance. The wrists are adorned with red
bracelets and in both hands the thumb rests
lightly against the middle finger. Other
traditional attributes also appear, such as the
elongated ears and the dot (urna) on the
forehead symbolising understanding. The facial
expression is especially serene with its large
closed eyelids. The overall effect is one of
immense calm and
meditation.
The appeal of this object is enhanced by the
considerable remains of the original polychromy.
In particular, red and green pigments adorn the
headdress and the delicately
carved drapery. This has been expertly chiselled
to fall over the front of the base and is
highlighted with gilding. The use of gold is most
elaborate on the fabric covering the knees where
it outlines two twisting dragons set among the
clouds. Also remarkable is the care lavished on
the beads below this. They are carved almost
entirely in the round.
This piece is an expression
of religiosity but also a demonstration of
exquisite skill. The celestial scarf, for example,
which falls towards the waist length tunic gives
the impression of real fabric. There is also
an attention to detail on the reverse of the figure.
Although it is not known where this sculpture
would have been displayed, the care taken over
the folds of the shoulder mantle on the reverse
suggest that it would have been visible from
both sides.
