**First Time At Auction**
East Asia, China, Qing Dynasty, ca. 18th to 19th century CE. An endearing wooden sculpture of the Bodhisattva Guanyin in her aspect as Songzi Guanyin the Bringer of Sons, holding a male child as she sits atop a double lotus pedestal, adorned with liberal remains of gilding. Posed naturalistically, the deity sits in half lotus position with the child balanced atop her left leg. Her hair is piled atop her head and draped in the hood of a shawl that falls down her shoulders. She gently bows her head, her sweet visage comprised of downcast eyes, a broad nose, and a petite smile. As the most precious treasure in premodern China was a son to carry on the family legacy, during the 15th to 17th centuries a new form of Guanyin emerged known as Songzi that presented the bodhisattva as a bestower of sons. Sculptures of Guanyin cradling the hoped-for baby boy, like this example, would have been made for personal veneration by a wealthy devotee who wished to become a mother. Size: 9.3" W x 21.9" H (23.6 cm x 55.6 cm)
Male children were important to the Confucian family structure since they not only ensured the continuity of family and clan, but that there would be uninterrupted generations to carry on the rituals of ancestral worship. Note the resemblance of this sculpture of Guanyin to those of the Madonna and Child; together they represent the universal compassion of divine maternal figures who inspire the faithful.
Bodhisattvas are among the most compassionate beings in the universe, devoting themselves to saving the suffering and helping others achieve enlightenment and Buddhahood. Traditionally depicted as less austere than Buddhas with graceful postures and elegant garments, a nod to the riches of the Northwestern Chinese Silk Road, this piece is no exception. Bodhisattvas or Guanyin are associated with compassion and mercy - their long ears significant, because they rescue all human beings by hearing their cries for help and the sounds of suffering.
Cf. Metropolitan Museum of Art, accession number 51.15.
Provenance: private Hawaii collection, acquired 2000 to 2010
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#177467
Condition
Surface wear as shown with stable fissures, abrasions, and old insect holes in areas. Chipping to pigments, but otherwise intact with nice remaining detail.