Guanyin+(Kuan-Yin)--A+Ming+Dynasty+Porcelain+scuplture

On display at the Detroit Institute of Arts
 * Kuan Yin (Guan Yin)**
 * http://www.dia.org/object-info/28462a7e-6195-4d5c-9c71-a00b13207d5a.aspx?position=97**
 * Identification**
 * Title:** Kuan Yin
 * Artist:** Unknown
 * Medium:** Porcelain with a transparent, ivory tinted glaze
 * Date:** early 1600s
 * Period:** probably Ming
 * Country of Origin:** China
 * Culture:** Chinese
 * Size:** 5 3/8 x 4 5/8 in. 13.7 x 11.7 cm
 * Accession Number:** 63.183
 * Current Location**: Detroit Institute of Arts
 * Manner of Display:**
 * Provenance:**Sold by Otto Burchard and Co. to K. T. Keller Collection of K. T. Keller prior to 1963.

In Buddhism, individuals exist that are known as bodhisattvas, which do not attain enlightenment until they have helped many others attain enlightenment, and are viewed as princes of the heavens (Prebish, 1993, p. 74). Kuan Yin, also called Avalokitesvara in India is seen as the bodhisattva of compassion and wisdom, since he aids those who ask for his help (Prebish, 1993, p.60). Bodhisattvas are seen as princes of the heavens and deities of compassion, who prolong their own enlightenment in order to help others achieve a state of enlightenment. As befitting the bodhisattva of compassion, his name means, "the lord who looks down" and is seen as a servant of the Buddha. Kuan Yin first appeared in India, as the bodhisattva of mercy, Padmapani, then was known as either Lokiteshvara or Avalokitesvara (Craven, 1997, p.172). He was finally transformed into the female Kuan Yin or Guan Yin in China and Japan, as the bodhisattva of mercy or compassion (Craven, 1997, p. 172). In India, Kuan Yin is seen as a male and in China and Japan as a female, and is usually depicted by the Chinese as wearing a long, flowing white robe (Anaya, 1993, p.1). It is not unusual for a bodhisattva to be viewed as both female and male, since they are able to transform themselves as such, in order to visit people (Anaya, 1993, p. 2). This sculpture is identifiable as Kuan Yin for several reasons, the first being that the majority of Chinese and Japanese depictions of Kuan Yin are more feminine in appearance, also the statue is shown in a pose which Kuan Yin is usually shown in with legs crossed with one raised upward and an arm resting on the raised leg. Despite the slightly more effeminate features, the figure as a whole appears more neuter in gender. The statue is quite small in stature, no more than several inches, and is petite as well. The statue would be fairly lightweight, as it is made from porcelain, and is not very tall, it is also most likely smooth to touch since it is finished with a glaze. The statue, after being formed, would most likely be sanded down, polished to give it a smooth surface, and then a glaze applied to make it even smoother and shiny. The porcelain would be composed of a whitish clay, and after being smoothed and polished, the statue would be given the ivory hued glaze. It is triangular shaped with a wider base and narrow, slightly pointed top, the legs are crossed with the right leg folded under and the left leg at a forty-five degree angle. The left arm rests on the left leg with the hand elongated and lightly resting upon the knee, the right arm rests behind the hips and appears to be propping the body upward, with the right hand resting flat on the ground. The chest is flat and upright along with the rest of the body, with the monastic robe draped over both of the shoulders. The shoulders lay flat and are squared towards the viewer, the robe is folded and draped over both shoulders, with the robe falling down on the chest in a V-shape. The head is oval shaped with the hair wrapped around the top of the head with either a comb or bun resting on top, atop the hair is a veil which seems to be a part of the monastic robe.
 * Introduction **
 * Descriptive Analysis **

The facial features are Asian in origin with the eyes cast downward, the nose rather large and the lips thin. The ears in particular, are stretched out, similar to a Buddha's, indicative that the bodhisattva was a very rich person in the former life, before becaming a religious figure. The robe worn by the bodhisattva is draped on the body in multiple, elaborate folds on the shoulders, along the arms, at the bottom of the chest, and particularly along the hips and legs. The bodhisattva also sits on top of a large portion of his robe, using it as a sort of cushion. All of the arms and legs are covered, with only the left hand and foot showing, the chest is half-bare all the way down to the stomach. The figure is elongated in an elegant manner, with the robe clinging to the body in a loose manner. The bodhisattva Kuan Yin would normally be shown with a lotus flower or willow branch in either hand, to help identify him as Kuan Yin, which is curiously left out of the statue. Kuan Yin Riding the Dragon http://www.mythicjourneys.org/newsletter_feb07_campbell.html Kuan Yin or Guan Yin was initially known in India as Avalokitesvara, the lord who looks down and although he was relatively unknown at first, he became one of the more important bodhisattvas of Buddhism (Prebish, 1993, p.60). Avalokitesvara became a major figure in Buddhism after he was depicted in the Pure Land Sutras as one of the attendants to the Buddha, he is thought to be the embodiment of compassion after constantly purifying himself for years (Prebish, 1993, p.60). In addition to representing compassion, he also represents wisdom, both of which are important qualities of Buddhahood (Prebish, 1993, p.60). Having a deity which wholly represents compassion is restricted to Buddhism and is not found in any other world religion, resulting in centuries of devotion and worship by followers from all of socitey (Karetzky, 2004, p.1). In addition, Avalokitesvara was known as one of the Buddha's attendants, but eventually evolved into a separate deity, viewed as a redeemer or guardian (Karetzkky, 2004, p.1). In China and Japan, Avalokitesvara was called either Kuan Yin or Guan Yin, and morphed into a female deity, after it became known that the deity appeared as a woman on numerous occaisions (Karetzky, 2004, p.2-3). In China, numerous female deities were formed into new ones, which developed into goddess cults, thus, Kuan Yin is seen as both a male and female deity depending on what country is being examined (Karetzky, 2004, p.3).
 * Contextual and Formal Analysis **

Kuan Yin is frequently shown with or on either a lotus, which is a symbol of enlightenment, or a willow branch, riding around on either a cloud or dragon (Dawn, 2005, p.1). In China and Japan Kuan, Yin is usually shown wearing a long, flowing white robe, and in India, Avalokitesvara is shown either a monastic robe, or in a shirt and pants with a lot of jewelry on the body. In this instance, Kuan Yin is shown with a simple robe and no adornments which is symbolic of a monastic or religious life, he is also shown with long, and stretched ears, which indicate a lot of wealth in the former life. The belief was that the more money a person had, the larger and heavier the gold earrings would have been, and the earrings in turn stretched out the ears from their weight, which became a symbol of wealth. Kuan Yin is also sometimes seen with many arms and heads in order to help those in need of his help (Prebish, 1993, 60). During the Ming Dynasty, Kuan Yin sculptures were generally in temples and was portrayed as having a thousand eyes and arms, murals of Kuan Yin were not of importance and were typically shown in the traditional scenes from the life of the Buddha (Karetzky, 2004, p.57). Temples also housed printed and woodcut stories of Kuan Yin as well as, smaller depictions of scented wood and softer stone (Karetzky, 2004, p.57). Small icons of Kuan Yin were also made for the home and were fashioned from materials such as porcelain, bronze, jade, and ivory, which were richer mediums for art (Karetzky, 2004, p.57).

During the Ming Dynasty, artists payed particular attention to showing their art as lifelike, taking into consideration posture, mood, the deity's symbols, in order to make their work as accurate as possible (Karetzky, 2004, p.57). In addition, artists liked to covey the deity's character by careful observation and great attention to the detail, which was important to the patrons, since the sculpture would have been used for private worship at home (Karetzky, 2004, p.57).

Bodhisattvas are sometimes shown to be decidedly female or male, although in this instance, Kuan Yin is portrayed as a neuter or asexual being, which is standard of the original belief that bodhisattvas can make themselves appear as either sex. Although this depiction of Kuan Yin is kept simple with just a robe, hair comb, and veil, Kuan Yin is usually shown holding a lotus or a willow branch, the lotus typically represents enlightenment, and the willow branch symbolizing fertility. Kuan Yin is typically shown in a long and flowing white robe, symbolizing purity, although the statue is entirely ivory, it is still associated with purity. The bodhisattva is shown in a seated position with one knee raised upward, which helps to identify it as Kuan Yin, the bodhisattva is typically shown in such a manner, because legend says that Kuan Yin was seated in the same pose as she gazed into a pond, when people sought her out (Unknown, "Guanyin," p.1).

Avalokiteshvara Looking Out Over the Sea http://en.wikipedia.org/wiki/File:Kuan-yan_bodhisattva,_Northern_Sung_dynasty,_China,_c._1025,_wood,_Honolulu_Academy_of_Arts.jpg

This smaller depiction of Kuan Yin is very pleasant to behold, and the deity seems to have a great deal of peace surrounding it, which suits the bodhisattva's attributes of compassion and wisdom. The statue possesses clear masculine and feminine features, the manly features inlcude; a flat chest, no visible curves to the figure, the broad shoulders, and the manner in which the bodhisattva sits. The feminine features are the elongated and graceful hands, hair which is pulled up by a hair comb and covered by a veil, the downcast eyes, and finer facial features. The robe is clinging to the body, which is shown to be more fleshy in the face, which is more rounded, and in the legs. The statue is portrayed in such a way that coincides perfectly with the legend of Kuan Yin being found sitting next to a pond and gazing into the water, the face is very serene and the pose relaxed to suggest Kuan Yin was not meditating or performing a religious task. Personally, I find that the bodhisattva's relaxed pose, serene face, and calm demeanor is what makes this particular statue so tranquil in appearance and in air, although the artist is unknown, he or she was very gifted to be able to portray a lifelike person in such a manner. Overall, Kuan Yin has been wonderfully portrayed, particularly in conveying the serenity of the bodhisattva, it is no wonder that such tasteful piece was used for the wealthy and nobility of the time.
 * Personal Interpretation **

**Printed Sources **
Craven, Roy C. //Indian Art: A Concise History//. London: Thames & Hudson, 1997.

Karetzky, Patricia Eichenbaum. //Guanyin.// Oxford: Oxford University Press, 2004.

Kinnard, Jacob N. //The Emergence of Buddhism.// Westport: Greenwood Press, 2006.

Prebish, Charles S. //Historical Dictionary of Buddhism//. London: The Scarecrow Press, 1993.

Reis-Habito, Maria. "The Bodhisattva Guanyin and the Virgin Mary." In //Buddhist-Christian Studies// 13, (1993): 61-69.

Shaw, Miranda. //Buddhist Goddesses of India.// Princeton: Princeton University Press, 2006.

Skilton, Andrew. //A Concise History of Buddhism.// Birmingham: Windhorse Publications, 1994.

**Online Sources**
Anaya, Rev. Cassandra. "Kuan Yin Avalokiteshvara." Circle of Light, 1993. http://www.circle-of-light.com/Mantras/KuanYin.html (July 2002).

Buddha Dharma Education Association Inc. "Kuan Shih Yin-Avalokitshvara Bodhisattva: The Bodhisattva of Great Compassion." Buddha Net, 1995. http://www.buddhanet.net/e-learning/history/kuanyin-txt.htm (November 2010).

Dawn, Aurora. "Kuan Yin." The Goddess Projects, 2000. http://goddessschool.com/projects/auroradawn/fpkuanyin.html (July 2005).

Department of Asian Art. "Kuan Yin." The Detroit Institute of Arts, 1964. http://www.dia.org/object-info/28462a7e-6195-4d5c-9c71-a00b13207d5a.aspx?position=97 (November 2010).
Devi Press, "Kuan Yin." Infinite Goddess: Embracing the Mother Goddess, 2010. http://www.goddess.ws/kuan-yin.html (November 2010).

Know Buddhism, "Devotion to Sakyamuni Buddha and Kuan Yin Bodhisattva." Know Buddhism, 1997. http://www.knowbuddhism.info/2009/03/devotion-to-sakyamuni-buddha-and-kuan.html (September 2010).

One World-Nations Online."Guan Yim, Guan Yin, Kuan Yim, Kuan Yin." Nations Online, 1998. http://www.nationsonline.org/oneworld/Chinese_Customs/Guan_Yin.htm (November 2010).

Rijks Museum. "Guanyin." http://www.rijksmuseum.nl/aria/aria_assets/AK-MAK-84?lang=en

"The Enlightenment of Bodisattva Kuan-Yin (Avalokiteshvara)." Baus, http://www.baus.org/baus/library/ekye1.html (July 1997).

Images
"Avalokitesvara." Wikipedia, http://en.wikipedia.org/wiki/Avalokiteśvara (November 2010).

Campbell, Joseph. "1967." Mythic Journeys, 1972. http://www.mythicjourneys.org/newsletter_feb07_campbell.html (2007).

Department of Asian Art. "Kuan Yin." The Detroit Institute of Arts, 1964. http://www.dia.org/object-info/28462a7e-6195-4d5c-9c71-a00b13207d5a.aspx?position=97 (November 2010).