Page 82 - Christies Alsdorf Collection Part 1 Sept 24 2020 NYC

崇聖御寶 - 詹姆斯及瑪麗蓮 ·阿爾斯多夫珍藏
Fig. 1: 圖1：
White-Robed Guanyin, late 1200s,
attributed to Zhang Yuehu, 張月壺作， 紙本設色， Leonard
China, Southern Song dynasty C. Hanna, Jr. 基金， 館藏編號
(1127-1279), hanging scroll, ink on
paper, Leonard C. Hanna, Jr. Fund
1972.160.
Image Courtesy of The Cleveland
Museum of Art
80 PART I
“Guanyin means ‘[The One Who]
Perceives the Sounds of the World.’ ”
Known and worshipped throughout East Asia, the
Guanyin’s distinctive white-robed manifestation arose in
China during the Tang dynasty (AD 618–907) and has
no antecedent or counterpart in the Indian tradition and
thus lacks a traditional Sanskrit name.
Chinese artists traditionally employed the royal ease
pose only in presenting major bodhisattvas, mainly in
depicting Guanyin but occasionally also in portraying
Manjushri—Wenshu Pusa in Chinese—the Bodhisattva
of Transcendental Wisdom. Suggesting both tranquility
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and a relaxed withdrawal from the world, the royal ease
pose implies that the figure so seated is at peace with
both world and self and is engaged in contemplation.
When seated in the pose of royal ease, Guanyin usually
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is presented either as the White Robed Guanyin or
as the Water-Moon Guanyin. The two are easily
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distinguished in paintings, as the White Robed Guanyin
wears a simple, unadorned white robe with a scarf or
shawl that covers the head—often concealing any crown
or topknot of hair—and is typically placed in a subdued
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landscape with a waterfall; by contrast the Water-Moon
Guanyin is usually draped in the conventional robes of
a bodhisattva and is set in a dense blue-and-green-style
landscape representing a paradise bedecked with coral
and jewels, with a moon above (that often serves as
Guanyin’s mandorla), and with a pond below in which
the moon is reflected—hence the name Water-Moon
Guanyin. Even when sculptures lack the original base
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and surround, as typically is the case, the two modes
are easily distinguished, as the White-Robed Guanyin is
presented with a scarf over the head, whereas the Water-
Moon Guanyin is presented with a bodhisattva’s standard
白衣觀音， 1200年末期， 傳南宋 robes and jewelry, with a topknot of hair, and often
with a crown.
1972.160。
圖片提供：克里夫蘭美術館 As revealed by paintings from the Southern Song
through the Ming dynasties, the White-Robed Guanyin
is typically shown seated on a mountain ledge, often
with a waterfall to the side and occasionally with the
waters of a lake below, as demonstrated by hanging
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scrolls in the Cleveland Museum of Art (Fig. 1) and in
the Metropolitan Museum of Art, New York. In a few
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fourteenth-century paintings, such as the hanging scroll
by Monk Zhengwu and now in the collection of the
Kyoto National Museum, the White-Robed Guanyin
sits atop an hourglass-shaped, rocky outcropping that
rises directly out of the sea. 13