Bodhisattva+Avalokitesvara+(Kannon)+-+10th+Century+Wooden+Sculpture


 * Date:** 9th or 10th century, Heian period
 * Materials Used:** Wood with lacquer and gilding
 * Dimensions:** 35.4 cm x 13.9 cm
 * Origin:** Japan
 * Location:** The Smithsonian Museum of Asian Art

=Introduction=

//Kwannon//, now spelled as //Kannon//, is the Japanese name for the bodhisattva Avalokitesvara. In Japan, he/she is also known as //Kanzeon Bosatsu// (観世音菩薩). which translates to which means “He/she who perceives the cries of the World.” In Buddhism, this bodhisattva is revered for being a savior to those with great sorrow, and receives prayers concerning many different things. Kannon also appears as a teacher of wisdom and awakening. The concept of this form of Avalokistesvara originated in India, was brought to China, and then finally, was brought to Korea and Japan. He is the embodiment of mercy and divine benevolence. He was originally an attendant to the Buddha of the Western Paradise, and guided souls to the Land of Eternal Bliss. He can take on many different appearances, depending on the situation in which he is called to. There are nine perils from which Kannon can save humans from, which include fire, swift current of rivers, shipwreck, execution by sword, imprisonment by being shackled, temptation of lust, attack by goblins, assault by thieves, and the desire for children or great wealth.

=Descriptive Analysis=

This sculpture measures in at 35.4 centimeters wide by 13.9 centimeters high, or 13 inches wide by 5 inches high. It was carved out of wood, and covered with lacquer and gilded with a metallic gold coating. Most of the gilding has worn off, mostly from the head and body, but there is some left at the base of the sculpture. As a result, the coloring of this sculpture is mostly a dull gray color near the head and upper body, and a brighter metallic gold near the base of the sculpture. This sculpture is of the bodhisattva Avalokitesvara, seated in the common meditative pose. He is seated on a square base foundation, which features a design that resembles drapery. His eyes are downcast, and he is wearing a single robe that hangs loosely from his body. His body is slightly fleshy, with rings of flesh around his neck, and he is barefoot. With his left hand, he is making the vaya mudra gesture, or the "fear not" gesture, and his right hand is held above the right thigh as if holding a slender object like the stem of a lotus, but the object is no longer present. He is also wearing various adornments, such as his crown and earrings. His earrings are quite long, and his earlobes are elongated.

=Formal/Contextual Analysis=

One important thing to note about this sculpture is its symbolism. This form of Avalokitesvara is considered to be the most basic form, known as Kannon, who symbolizes mercy and divine benevolence. Perhaps the most prominent symbolism of this sculpture is the hand gesture formed by Kannon's right hand; the abhya mudra gesture. It simply means "fear not." This gesture is quite universal and well-known in Buddhism. To those in great distress and calling out to Kannon, this is mostly likely they first sign of relief. Another important thing to note is the style. Even though this was created in the 10th century in Japan, it bears an uncanny resemblance to other bodhisattva sculptures from the Gupta period in India, of which can be referenced in the picture below. Aside from the gilding, there are many similarities. One characteristic is its symmetrical posture. Kannon is seated in such a way that a perfect, 90° triangle can be formed. This symmetry can be used as a means of conveying a sense of balance. Another characteristic that is similar to the Gupta style is the downcast eyes and contemplative expression.

=Personal Interpretation=

The perfect symmetry of this sculpture is mainly what caught my attention when I saw this. It gives a nice sense of balance and harmony. I would have liked to see this sculpture before all the gold gilding started to wear off. Even now, I can still see the brilliant and vibrant color of the gilding that remains, so I can only imagine how amazing it would have looked back in the 10th century. Also, I am amazed that this was carved out of wood, and not some type of stone. The sheer amount of detailing that went into this sort of disguises the material that was used.

=References=

//Books// Karetzky, Patricia Eichenbaum. //Guanyin.// Oxford (U.K.): Oxford university Press, 2004.

Berkwitz, Stephen C.. //Buddhism in world cultures: comparative perspectives//. Santa Barbara: ABC-CLIO, 2006.

//Online// "Japanese Art | Bodhisattva Avalokitesvara (Kwannon) | F1909.344a-i ." Freer and Sackler Galleries. http://www.asia.si.edu/collections/singleObject.cfm?ObjectNumber=F1909.344a-i

Kannon, akue. "JAANUS / Kannon Ï¹." æ¸¥ç¾è²¡å£. http://www.aisf.or.jp/~jaanus/deta/k/kannon.htm

"JAANUS / bosatsu ìF." æ¸¥ç¾è²¡å£. http://www.aisf.or.jp/~jaanus/deta/b/bosatsu.htm