A Ming Dynasty Chinese Carved Wooden Figure of a Bodhisattva Guan Yin A Ming Dynasty Chinese Carved Wooden Figure of a Bodhisattva Guan Yin

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An imposing depiction of Guan Yin, wearing an elaborate headdress adored with the carved figure of the seated Amitabha Buddha,...

An imposing depiction of Guan Yin, wearing an elaborate headdress adored with the carved figure of the seated Amitabha Buddha, the face characteristically round and jeweled, with the full mouth forming a pout under a plump upper lip, the eyes forming narrow slits with the pupils articulated in naturalistic blue black pigment, a large 'urna' indented in the center of a prominent brow, a rippling hairline framing her face, her hair swept up dramatically into a high top knot, some tresses looped around the ears and flowing in tendrils about the shoulders, in rhythm with the contours of her body, wearing a multi tiered chain necklace in the form of the 'ruyi' symbol, her 'dhoti' draped over her shoulders and swept diagonally across the torso, her full figure with a slightly swayed hip seated in 'rhajilasana', her right hand resting on her raised knee, the left hand supporting the pose, the folds of the garment echoing the rhythm of her body, forming concentric ridges below the waist and down to the ankles, both of her feet exposed, with ornamental chains dangling from her skirt below the knee, traces of copper-green and vermilion discernible on areas of the wooden surface.

 

An imposing depiction of Guan Yin, wearing an elaborate headdress adored with the carved figure of the seated Amitabha Buddha, the face characteristically round and jeweled, with the full mouth forming a pout under a plump upper lip, the eyes forming narrow slits with the pupils articulated in naturalistic blue black pigment, a large 'urna' indented in the center of a prominent brow, a rippling hairline framing her face, her hair swept up dramatically into a high top knot, some tresses looped around the ears and flowing in tendrils about the shoulders, in rhythm with the contours of her body, wearing a multi tiered chain necklace in the form of the 'ruyi' symbol, her 'dhoti' draped over her shoulders and swept diagonally across the torso, her full figure with a slightly swayed hip seated in 'rhajilasana', her right hand resting on her raised knee, the left hand supporting the pose, the folds of the garment echoing the rhythm of her body, forming concentric ridges below the waist and down to the ankles, both of her feet exposed, with ornamental chains dangling from her skirt below the knee, traces of copper-green and vermilion discernible on areas of the wooden surface.