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FIGURE OF GUANYIN
China
Qing dynasty, Kangxi period (1662-1722)
Porcelain decorated with famille verte enamels on the biscuit
Height: 20 cm; length: 11 cm
A figurine of the Bodhisattva Guanyin seated upon a upwards. She holds a fly-whisk, an object commonly
thin base with one leg touching the ground and the represented with Bodhisattvas. In addition to being a
other bent upwards. She wears a long robe and cloak practical item used to swat away insects and dust, the
over her head, and is modelled with a serene fly-whisk was also symbolic of whisking away the
expression on her face. She is holding a fly-whisk in problems and contaminations of the mortal world.1
one hand and a small vase containing a flower stem in It is also associated with the concept that the
the other. Her robes are painted on the biscuit with Bodhisattva would love all creatures and therefore
green, yellow and aubergine-purple enamels in a loose would not harm a fly but instead wave it away.2 The
‘egg-and-spinach’ pattern. Her cloak is painted with vase in her other hand may be the vase of heavenly
green enamel and most other parts of her figure are dew, the contents of which were occasionally poured
painted with a thin, clear glaze wash. Her hair and the out to relieve the troubled world.3 Guanyin is
base are left in the biscuit. There is a large circular sometimes shown sprinkling the waters of blessing
opening in the centre of the back of this figure. from this vase. The Chinese word for vase is ping, a pun
for peace. Each of these symbols is suited to her role as
Guanyin is one of the most popular Buddhist deities in the goddess of mercy, for which she is widely
China, and originated from an Indian male bodhisattva celebrated. She is sometimes shown with eleven heads
called Avalokiteśvara. From around the 12th century and a thousand arms, enabling her to aid and relieve
onwards, this deity was mostly represented in female more suffering at any one time.
form in China, when she was connected with a Guanyin is also known for her role as the patron
legendary princess called Miao-shan. Guanyin has been goddess of mothers and the bringer of sons.4 In Chinese
represented in many different manifestations, as history, the birth of sons was particularly wished for in
different stories and legends gradually became order to continue the family line. The pressure to
associated with her. She is shown with different produce a son meant that Guanyin was principally
attributes or objects according to which form is popular among women. Evidence of this can be found
represented, or which role she is enacting. in the letters of Father d’Entrecolles, who stated that:
Here, Guanyin is shown in the posture of ‘royal ease’ ‘They also make abundance of Statues of Kuan-in, a
(rajalalitasana), with one leg flat and the other bent Goddess famous in China. She is represented holding a
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