A GILT-PAINTED WOOD FIGURE OF AVALOKITESHVARA SONG DYNASTY |

seated in maharajalilasana atop a pierced rockwork base with swirling waters below, the right arm resting on the raised knee, wearing long robes falling over the front edges of the base, the garment opening at the bare chest revealing a beaded necklace, the serene face with a benevolent expression, the hair gathered into a high chignon and crowned with an elaborate hairdress centred with Amitabha Buddha, traces of gilding and painting

A & J Speelman Ltd, London.

The figure is in good overall condition with minor areas of losses, including sections of the attribute and the hair tassel. There are minor areas of retouching as expected of its age.
"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."

It is likely that the iconography of the present figure, resembling a noble lady serenely reclined in rajalilasana ('royal ease'), is derived from the picture of the Water-Moon Guanyin created by the Tang painter Zhou Fang, and later made popular among sculpture during the Song period. A comprehensive discussion of this subject is found in Angela Falco Howard et al., Chinese Sculpture, New Haven, 2006, p. 388. It has also been suggested that this pose originates from an episode in the 'Flower Garland' or Avatamsaka Sutra (Ch. Huayan) in which its protagonist, the youth Sudhana, in his search for true wisdom, seeks Avalokiteshvara on his island residence on Mount Potalaka (Ch. Budaluojia), where the divine Compassionate One appears, in 'royal ease' within a grotto, and debates with Sudhana. Note the discussion on the origins of the variant 'royal ease' posture depicted here, which became popular along with the spread of the Avatamsaka Sutra in China from the 10th century, in Derek Gillman, 'A New Image in Chinese Buddhist Sculpture of the Tenth to Thirteenth Century', Transactions of the Oriental Ceramic Society, 1982-83, vol. 47, London, 1983, pp. 32-44. The sculpture is particularly well preserved, with extensive traces of original pigments. The carver has skilfully captured the serenity and warmth of Avalokiteshvara, who is depicted as an approachable female figure with a full face and gentle smile, the eyes half closed and hair elegantly drawn into a high chignon, her elaborate crown featuring a seated figure of Amitabha Buddha. In this manifestation she is shown adorned with worldly accessories, such as the ornate necklace and crown, to emphasise her non-ethereal status, in sharp contrast to the stripped-black images of the Buddha. As it was believed that anyone who recited her name during times of distress would be rescued by her, she is the most worshipped deity in Buddhism and has therefore been frequently depicted in sculptural form.