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East Asia, Japan, Meiji period, ca. 1868 to 1912 CE. An impressively large, skillfully painted four-panel screen, with each panel of both the front and the reverse (8 painted panels in total) featuring various manifestations of Kannon (the Japanese version of Guanyin or Avalokiteshvara) - the sacred Bodhisattva of Compassion - rendered as a female persona floating above scenes including people and demons she will save. The imagery is painted on rice paper in a lovely color palette featuring scarlet, cyan, spring green, gold, sky blue, black, and white - all beautifully mounted with heavy silk brocade in shades of gold, lavender, blue, and sage on the folding screen which has wonderful rollers on the bottom making it relatively easy to open and close. Size (each painting): 23.25" L x 11.625" W (59.1 cm x 29.5 cm) Size (each panel): 17.875" W x 79.75" H (45.4 cm x 202.6 cm) Size (fully extended): 73.125" W x 79.75" H (185.7 cm x 202.6 cm)
The paintings on this screen are from a set of paintings presenting thirty-three manifestations of the bodhisattva Kannon, a theme derived from chapter 25 of the Lotus Sutra enumerating various perils that people face and the thirty-three aspects Kannon assumes to save them.
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 (also Kannon 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.
Provenance: private Evergreen, Colorado, USA collection; ex-private Denver, Colorado, USA, collection, acquired 1960 to 2000
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#175275
Condition
Painted panels have a few minor scuffs, stains, nicks to peripheries, and normal toning commensurate with age; however, overall the imagery is very strong. Minor bubbles beneath paper that painted panels are mounted to, but otherwise well preserved. Brocade shows slight stains, a few minute abrasions, a slight puncture, and minor lifting to some edges. Screen opens nicely and is on rollers; also closes neatly along accordion folds.