Sculpture de Guanyin en bois polychrome Chine, dynastie Song

la divinité représentée debout sur une base circulaire, vêtue d'une robe formant d'harmonieux plis, couverte de bijoux précieux et coiffée d'une haute couronne auréolant son visage serein

Sotheby's Amsterdam, 21st November 2001, lot 391.

The figure is sculpted out of a single piece of wood and is very light in weight. it is slightly leaning to one side (as the base is not even). Both arms are missing from just above the elbows. The long flowing ends of the shawl wrapped around its shoulders are broken off and missing, only the ends remain on both sides of the feet. There are a number of vertical cracks running through the wood of the base, body and head of the figure, most notably a ca. 43cm long crack to the front extending from the edge of the robe extending up the figure's right leg (visible in the catalogue illustration). There are some losses to the headdress, the robe and other areas of the relief. There are traces of blue and red pigment as well as some areas of gilding visible. The figure is of less yellow tone than the catalogue illustration suggests. A sample of the wood has been scientifically tested and the result is consistent with the dating of this lot (a copy of the test is available on request).
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Wood sculptures of the Song dynasty are extremely rare and only a small number have been found extant to date. The present example is remarkable for its magnificent size and graceful carving of one of the most highly revered deities in the Buddhist pantheon, the Goddess of Compassion and Mercy, Guanyin.  The deity’s facial features are especially expressive with her eyes in a serene half-closed gaze conveying a state of deep contemplation, while the body is well modelled in a natural standing pose with the robe elegantly draped across the shoulder and flowing down to the feet. Bodhisattvas are enlightened beings who have remained in the material world to aid in the salvation of all mortals. Guanyin, as seen here, is usually depicted as a beautiful female figure with a warm, gentle smile that shows her benevolence and non-ethereal status.  She wears worldly ornaments, as may be seen from her jewelled necklace and ornate headdress or crown. This portrayal is in sharp contrast with the plain imagery generally conveyed by Buddha figures. It was believed that anyone who recited Guanyin’s name during times of distress or hardship would be heard and rescued by her, which is also why she was the most worshipped deity in China.

Stylistically, the present figure belongs to a small group of sculptures attributable to circa early 12^th century when forms were generally restrained with a penchant for the abstract as opposed to an interest in movement and naturalism that came to replace this trend by the late Jin period. For examples of related wooden Guanyin figures see one in the Metropolitan Museum of Art, New York, illustrated in Zhongguo meishu quanji, vol. 5, Beijing, 1988, pl. 74, depicted seated but with similar facial features and a slender elongated body, and the long hair gathered up into an elaborate coiffure behind a crown or headdress as seen on the present example.  The Metropolitan Guanyin is also attired in a sumptuous silk robe, and wears an elegant necklace befitting her royal heritage. Another comparable figure, in the Freer Gallery of Art, Washington D.C., of similar facial type, costume and size, was included in the museum’s exhibition A Decade of Discovery, Washington D.C., 1979, cat. no. 12, where it is attributed to the 12^th century.  This dating is supported by the soft expression of the rounded face, which is a characteristic shared by the present example in contrast to the more severe squared features of the Jin tradition mentioned above.  Another standing figure of Guanyin, in the Victoria and Albert Museum, London, and published in Hai-wai Yi-chen. Chinese Art in Overseas Collections Buddhist Sculpture II, Taipei, 1990, pl. 148, also reveals a number of common characteristics with this piece; such as the slightly opened eyes, the sharp pointed nose, the body bedecked with jewels and the hair tied up behind an intricately fashioned crown.  See also a smaller Guanyin figure of this type sold in our London rooms, 8^th June 1974, lot 17; and a seated example, from the collection of C.T. Loo, Paris (1950), sold three times at Christie’s New York, 5^th June 1986, lot 119, 2^nd June 1994, lot 183, and 19^th September 1996, lot 221.