Lot 2
17th C. Chinese Ming Wood Head of Water-Moon Guanyin
17th C. Chinese Ming Wood Head of Water-Moon Guanyin
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East Asia, China, Ming Dynasty, ca. 17th century CE. Serene and transcendent, this life-size head of Guanyin - the Bodhisattva of Compassion - embodies the quiet majesty and spiritual elegance of Ming dynasty devotional sculpture. Carved from wood, gessoed, and delicately polychromed, the figure is presented in the manifestation of Shuiyue Guanyin or Water-Moon Guanyin, an ethereal form associated with meditation and vision. With downcast eyes and gently arched brows, the bodhisattva's expression conveys profound introspection and compassion. The finely modelled facial features, soft and naturalistic, speak to the enduring Indian influence on Chinese Buddhist art - a lineage that began with the transmission of Buddhism along the Silk Road and reached full expression in Tang and Song dynasties, before being distilled into the calm idealism of Ming aesthetics. Size: 9.4" L x 9.5" W x 16" H (23.9 cm x 24.1 cm x 40.6 cm); 20.8" H (52.8 cm) on included custom stand.
Most striking is the elaborate crown that rises above Guanyin's high forehead, where a seated figure of Amitabha Buddha is delicately carved in high relief. This detail not only establishes the sculpture's devotional lineage - with Amitabha as Guanyin's spiritual progenitor in the Mahayana tradition - but also identifies this figure specifically as Water-Moon Guanyin. The flamelike form of the crown, now partially weathered, suggests lotus petals or mountain peaks, further reinforcing the heavenly symbolism of Water-Moon Guanyin's abode - a mythical island paradise beyond the mortal world. With its lyrical carving, iconographic richness, and spiritual gravitas, this head of Guanyin offers a poignant glimpse into the devotional life and artistic sophistication of Ming China.
Water-Moon Guanyin (Shuiyue Guanyin) is one of the most poetic and spiritually evocative manifestations of the bodhisattva Guanyin, the embodiment of boundless compassion in East Asian Buddhism. This form, which originated during the Tang dynasty and flourished in later periods, depicts Guanyin in a moment of serene contemplation, often seated in royal ease upon a rocky outcrop, gazing at the moon reflected in wateran image laden with symbolism of illusion, reflection, and transcendent wisdom. Her crown typically bears a small seated figure of Amitabha Buddha, her spiritual ancestor, affirming her identity as his emanation and a savior figure in the Pure Land tradition.
During the Ming dynasty, the image of Water-Moon Guanyin gained renewed vitality, especially in wooden sculpture, which allowed for expressive modeling and polychrome detail. Ming artisans emphasized her gentle demeanor, finely arched brows, and elegantly composed features, conveying a sense of spiritual depth and maternal compassion. These sculptures were often intended for private devotion or temple enshrinement, acting as intermediaries between the worshipper and Amitabhas Western Paradise. As both a meditative presence and a symbol of salvation, Water-Moon Guanyin occupied a central role in Ming devotional life, reflecting the eras deep engagement with both aesthetic refinement and religious piety.
The flourishing of Guanyin imagery in the Ming period reflected both artistic innovation and deep devotional demand across China. Particularly in wood - a medium prized for its warmth and expressive potential - regional workshops developed highly refined sculptural traditions. In southern provinces like Fujian and Zhejiang, artisans became renowned for their technical mastery, producing figures that combined lyrical elegance with vivid surface treatment. These workshops specialized in polychrome gesso techniques that brought spiritual figures like Water-Moon Guanyin to life with remarkable realism. Characterized by serene expressions, elongated features, and intricate detailing, these sculptures were commissioned for both public temples and private altars - testifying to Guanyin's widespread presence across every level of religious life.
The iconography of Water-Moon Guanyin in the Ming period is rich with layered symbolism drawn from both Buddhist scripture and Chinese artistic convention. She is most commonly depicted seated in lalitasana, the pose of royal ease, her body relaxed yet dignified - suggesting both compassion and sovereignty. The moon reflected in water, often referenced in poetic titles or visual motifs, alludes to the Buddhist concept of illusion (maya) and the fleeting nature of worldly existence. Her crown, invariably surmounted by a miniature Amitabha Buddha, serves not only as a devotional identifier but also as a doctrinal link to the Pure Land sect, which was especially popular in Ming China. The lotus, rock ledges, flowing scarves, and waterfall imagery that often accompany her full-bodied representations underscore her association with purity, natural beauty, and spiritual transcendence.
By the Ming dynasty, Guanyin's identity had evolved into one of profound syncretism, drawing from both Buddhist and Daoist traditions. While originally imported from India as the male bodhisattva Avalokitesvara, Guanyin was gradually reimagined in Chinese culture as a female deity - particularly suited to Daoist concepts of yin energy, fertility, and natural harmony. Water-Moon Guanyin, in her serene and contemplative form, often overlaps with Daoist imagery of immortals and mountain sages, embodying the ideal of spiritual aloofness in remote paradises. In some temple contexts, she even absorbed attributes from Daoist goddesses such as the Queen Mother of the West or the goddess Mazu. This fluidity of identity enhanced her accessibility and universal appeal, allowing her image to transcend sectarian boundaries and become one of the most beloved and widely worshipped figures in Chinese religious life.
Provenance: private Los Angeles, California, USA collection, acquired from 1990 - 2005
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#193606
- Condition: Fragment of a larger piece as shown. Professionally regessoed and repainted in the 20th century. Chipping to crown, verso, and neck as shown, as well as nicks, a few stable fissures, and areas of old inactive, insect damage. Otherwise, nice presentation with great detail and pigments.
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