China. Early Ming Style, Qing reproduction c. late 19th century.Kuan Yin is the Bodhisattva of Compassion, Savior of those in distress, and patron of women seeking children. She is worshipped as the divine Intercessor who, by her grace, ensures a bountiful harvest and abundant children. She is also the agent of Amitabha who carries departed souls to the Pure Land. By the Ming period the Indian Bodhisattva Avalokitesvara had been fully identified in China with the cults of pre-Buddhist mother goddesses worshipped in southern China and coastal regions of Fujian and Canton. Behind the vaunted Buddhist sobriquets - Great Merciful, Great Compassionate, Great Savior from Hardship - lies the popular worship of the ageless Chinese mother goddess of pregnancy, deliverance, prophesy and healing. This cowled image of Guan Yin is seated in vajrasana upon a lotus pedestal which now however is embraced by two emphatically Chinese imperial dragons. Accordingly the Indian bodhisattva has now fully emerged on the model of an elegant matronly and very feminine Chinese aristocrat her masculine origins now forgotten. The mudra of the right hand is an eccentric variation of the vitarka Argumentation of the Doctrine while the slender vase in the left hand is the attribute signifying healing powers. The two character name Kuan Yin is the direct translation into Chinese of the Sanskrit Avalokitesvara He who hears the cries of the World signifying the compassion of the bodhisattva who sacrifices his own salvation that he may transfer his merit accumulated over the ages to aid the suffering multitudes steeped in ignorance.
Bronze Each piece you see here is made individually by our master artisans. The craftsmanship involved creates slight variations in color, finish, size, and shape - a quality we consider to be an added touch of uniqueness. The remarkable detail of our bronze sculptures is due to meticulous and labor-intensive care by Thai craftsmen to produce these unique sculptures of exquisite detail and timeless durability. Buffing, polishing, and patinising give each piece its final green-grey verdigris or bronze luster, which conveys the essence of what we at Eastern Serenity admire in South-East Asian art.