Page 43 - Contenplating the Divie Buddhist Art Christies Hong Kong

WOODEN FIGURE OF THE BODHISATTVA

WATER MOON GUANYIN

LIAO - JIN DYNASTY, 12TH CENTURY

Rose Kerr
Museum Expert Advisor, Hong Kong
Former Keeper of the Far Eastern Department, Victoria & Albert Museum

This attractive, contemplative sculpture is a religious image, depicting 遼 / 金代
a Buddhist deity know as a Bodhisattva. Bodhisattvas were originally
ordinary people, who through long meditation, prayer and a cycle of 公元十二世紀
rebirths, had reached the ultimate goal of nirvana, i.e. liberation from 木雕彩繪水月觀音坐像
all mental cares, and rebirth into a state of the highest happiness. But
Bodhisattvas choose to turn away from that transcendental bliss, in order 柯玫瑰
to return to the world to help other suffering human beings. For that 香港博物館專家顧問
reason, they hold a special place in the hearts of Buddhist worshippers. 前維多利亞與亞伯特博物館遠東部總館長

The particular Bodhisattva is known in India as Avalokitesvara, the “Lord
who looks down”, and he embodies compassion. In China he is called
Guanyin, which means “comprehending the cries [of the world]”. In 此像雋永端凝，以佛教神祇觀音為題。觀音本為
this figure, the cast of face with inward-turning gaze emphasises the 凡人，經長年修持、虔心向佛，幾經輪迴，終證
Bodhisattva’s powers as a comforter, while the naturalistic modelling of 悟涅槃，得入自在無礙之極樂淨土。但觀音終捨
body and dress stress nearness and accessibility. The figure is seated in a 逍遙之境，只為返回世間，渡眾生苦厄。正是為
relaxed way, leaning on one arm with one leg drawn up, a posture of Royal 此，觀音在信眾心中的地位格外尊崇。
Ease that has been identified with Water Moon Guanyin, a name taken
from a Buddhist text called the Flower Garland Sutra. Flower Garland Sutra 本尊菩薩的梵文名為「Avalokitesvara」，意
was an influential text that illuminated a cosmos of infinite, interlocking 謂「觀世」，乃大慈大悲之化身。菩薩在中國又
realms, existing in a state of mutual balance, without contradiction or 名「觀音」，源自「觀察世間音」一說。本尊面
conflict. A peaceful teaching, it argued that there is no cause and effect in 容祥和，雙目輕闔垂視，彰顯了菩薩循聲救苦之
the world, rather a state of mutual interfusion and complete equality. 法力，而自然逼真的身姿和衣裙，則用以襯托其
平易近人。觀音坐姿閒適，一手撐地，雙腿一曲
The figure depicted is a male deity, for his bare torso is clearly visible beneath 一盤，正是水月觀音特有的「如意坐」姿，而「水
his robes. During the succeeding Ming dynasty the portrayal of Guanyin
changed to that of a female divinity, because Guanyin’s merciful nature was 月」之名典出佛教《華嚴經》。這部經典影響深
compatible with womanly qualities, in particular the power to grant sons. 遠，詮釋了無礙無盡、相涉相入之法界，其間萬
物相成、圓融無爭。此經闡述清靜之理，指世上
Guanyin is dressed in a form of clothing that is essentially Indian, a legacy 本無因果之分，眾生圓融相生、平等和諧。
of the religion’s transmission from India during the long-ago Han dynasty.
Chinese apparel would never reveal so much of the naked body. Round his 此尊為男身，蓋因其袍下軀幹清晰可見。及至明
waist Guanyin wears a skirt or dhoti, consisting of a piece of material tied 代，觀音始蛻變為女相，想必是其慈和悲愍的形
around the waist with a sash and extending to cover most of the legs. The 象 ( 尤其是送子觀音 ) 與女性更為契合。
Brahmanic cord is tied around his body and scarves are draped round his
shoulders and across his torso, their ends moving gently in a divine wind. 觀音的衣著大致呈印度風格，承襲了佛教從天竺
His hair is tied on top of his head in an elaborate chignon, with long trailing 傳入漢地時的古風，其袒身露體的樣式與漢服大

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