150 - A Chinese polychrome wood figure of Water Moon Guanyin

A Chinese polychrome wood figure of Water Moon Guanyin Ming dynasty The graceful figure seated atop a tall plinth shaped like a stylised rock, posed in rajalilasana (royal ease), wearing a flowing skirt and a shawl draped over her shoulders terminating in long ribbons cascading down onto the plinth, her hair styled in a high chignon behind the tall flower crown, painted in red, green, yellow, and blue pigment, 51.5cm high. 明 木雕彩繪水月觀音像 Some scholars suggest that Water Moon Guanyin represents one of the manifestations of Avalokiteśvara described in the Lotus Sutra, specifically corresponding to the twelfth form, of a lay practitioner, as reflected in the figure’s relaxed posture. This depiction is also attributed to the Tang dynasty artist Zhou Fang, who is believed to have been the first to portray the bodhisattva in this manner. The pose symbolises the Water Moon manifestation, interpreted as an image of the deity within his Pure Land or personal paradise. This realm, known as Mount Potalaka, was traditionally thought to be located on an island south of India. 一些學者認為，「水月觀音」代表《法華經》中所描述的觀世音菩薩的一種化現，特別對應於第十二種形象，即以在家修行者的形象呈現，這一點也體現在造像所展現的自在坐姿之中。此類造像亦被歸功於唐代畫家周昉，據信他是最早以此方式描繪觀音菩薩的人。這一姿態象徵「水月化現」，被解讀為神祇在其淨土或個人理想境界中的形象。此境界被稱為「普陀洛迦山」，通常上被認為位於印度以南的一座島嶼上。