Wooden Sculpture of Bodhisattva Skanda 韦驮菩萨木雕
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Wooden Sculpture of Bodhisattva Skanda 韦驮菩萨木雕
88.93 Bronze with traces of gilding 9 3/4 x 5 1/2 x 2 1/4 in. (24.8 x 14 x 5.7 cm) Gift of the Asian Art Council
Maitreya gained a strong following in East Asia, where he was considered more accessible than other Buddhas and was sometimes worshipped as a savior who might usher in a new era. In China he was depicted seated on a throne with both legs hanging, rather than with legs crossed in a meditative posture. His open palm, resting on his knee, is making the wish-granting gesture.
88.93 Bronze with traces of gilding 9 3/4 x 5 1/2 x 2 1/4 in. (24.8 x 14 x 5.7 cm) Gift of the Asian Art Council
Maitreya gained a strong following in East Asia, where he was considered more accessible than other Buddhas and was sometimes worshipped as a savior who might usher in a new era. In China he was depicted seated on a throne with both legs hanging, rather than with legs crossed in a meditative posture. His open palm, resting on his knee, is making the wish-granting gesture.
88.93 Bronze with traces of gilding 9 3/4 x 5 1/2 x 2 1/4 in. (24.8 x 14 x 5.7 cm) Gift of the Asian Art Council
Maitreya gained a strong following in East Asia, where he was considered more accessible than other Buddhas and was sometimes worshipped as a savior who might usher in a new era. In China he was depicted seated on a throne with both legs hanging, rather than with legs crossed in a meditative posture. His open palm, resting on his knee, is making the wish-granting gesture.
88.93 Bronze with traces of gilding 9 3/4 x 5 1/2 x 2 1/4 in. (24.8 x 14 x 5.7 cm) Gift of the Asian Art Council
Maitreya gained a strong following in East Asia, where he was considered more accessible than other Buddhas and was sometimes worshipped as a savior who might usher in a new era. In China he was depicted seated on a throne with both legs hanging, rather than with legs crossed in a meditative posture. His open palm, resting on his knee, is making the wish-granting gesture.
88.93 Bronze with traces of gilding 9 3/4 x 5 1/2 x 2 1/4 in. (24.8 x 14 x 5.7 cm) Gift of the Asian Art Council
Maitreya gained a strong following in East Asia, where he was considered more accessible than other Buddhas and was sometimes worshipped as a savior who might usher in a new era. In China he was depicted seated on a throne with both legs hanging, rather than with legs crossed in a meditative posture. His open palm, resting on his knee, is making the wish-granting gesture.
88.93 Bronze with traces of gilding 9 3/4 x 5 1/2 x 2 1/4 in. (24.8 x 14 x 5.7 cm) Gift of the Asian Art Council
Maitreya gained a strong following in East Asia, where he was considered more accessible than other Buddhas and was sometimes worshipped as a savior who might usher in a new era. In China he was depicted seated on a throne with both legs hanging, rather than with legs crossed in a meditative posture. His open palm, resting on his knee, is making the wish-granting gesture.
88.93 Bronze with traces of gilding 9 3/4 x 5 1/2 x 2 1/4 in. (24.8 x 14 x 5.7 cm) Gift of the Asian Art Council
Maitreya gained a strong following in East Asia, where he was considered more accessible than other Buddhas and was sometimes worshipped as a savior who might usher in a new era. In China he was depicted seated on a throne with both legs hanging, rather than with legs crossed in a meditative posture. His open palm, resting on his knee, is making the wish-granting gesture.
88.93 Bronze with traces of gilding 9 3/4 x 5 1/2 x 2 1/4 in. (24.8 x 14 x 5.7 cm) Gift of the Asian Art Council
Maitreya gained a strong following in East Asia, where he was considered more accessible than other Buddhas and was sometimes worshipped as a savior who might usher in a new era. In China he was depicted seated on a throne with both legs hanging, rather than with legs crossed in a meditative posture. His open palm, resting on his knee, is making the wish-granting gesture.
88.93 Bronze with traces of gilding 9 3/4 x 5 1/2 x 2 1/4 in. (24.8 x 14 x 5.7 cm) Gift of the Asian Art Council
Maitreya gained a strong following in East Asia, where he was considered more accessible than other Buddhas and was sometimes worshipped as a savior who might usher in a new era. In China he was depicted seated on a throne with both legs hanging, rather than with legs crossed in a meditative posture. His open palm, resting on his knee, is making the wish-granting gesture.
1926.282a 1350-1400 Gilt Bronze 35.6 × 15.7 × 8.1 cm (14 × 6 1/8 × 3 3/16 in.) Lucy Maud Buckingham Collection
In its willowy proportions, as well as facial features and dress, this image exemplifies the Chinese manifestation of the princely Indian deity Avalokitesvara as the distinctively feminine Goddess of Mercy (Guanyin). Her necklaces of symmetrical loops and pendants closely resemble those of richly adorned images dating to the late 14th century, which spanned the Mongol Yuan dynasty (1279 1368) and China’s return to native rule under the Ming (1368 1644).
This image originally contained a strip of paper inscribed in Tibetan with Sanskrit mantras (ritual chants). Although both Yuan and Ming elites maintained close relations with Tibet, the presence of this sacred record in an elegantly secularized figure is unusual.
1926.282a 1350-1400 Gilt Bronze 35.6 × 15.7 × 8.1 cm (14 × 6 1/8 × 3 3/16 in.) Lucy Maud Buckingham Collection
In its willowy proportions, as well as facial features and dress, this image exemplifies the Chinese manifestation of the princely Indian deity Avalokitesvara as the distinctively feminine Goddess of Mercy (Guanyin). Her necklaces of symmetrical loops and pendants closely resemble those of richly adorned images dating to the late 14th century, which spanned the Mongol Yuan dynasty (1279 1368) and China’s return to native rule under the Ming (1368 1644).
This image originally contained a strip of paper inscribed in Tibetan with Sanskrit mantras (ritual chants). Although both Yuan and Ming elites maintained close relations with Tibet, the presence of this sacred record in an elegantly secularized figure is unusual.
1926.282a 1350-1400 Gilt Bronze 35.6 × 15.7 × 8.1 cm (14 × 6 1/8 × 3 3/16 in.) Lucy Maud Buckingham Collection
In its willowy proportions, as well as facial features and dress, this image exemplifies the Chinese manifestation of the princely Indian deity Avalokitesvara as the distinctively feminine Goddess of Mercy (Guanyin). Her necklaces of symmetrical loops and pendants closely resemble those of richly adorned images dating to the late 14th century, which spanned the Mongol Yuan dynasty (1279 1368) and China’s return to native rule under the Ming (1368 1644).
This image originally contained a strip of paper inscribed in Tibetan with Sanskrit mantras (ritual chants). Although both Yuan and Ming elites maintained close relations with Tibet, the presence of this sacred record in an elegantly secularized figure is unusual.
1926.282a 1350-1400 Gilt Bronze 35.6 × 15.7 × 8.1 cm (14 × 6 1/8 × 3 3/16 in.) Lucy Maud Buckingham Collection
In its willowy proportions, as well as facial features and dress, this image exemplifies the Chinese manifestation of the princely Indian deity Avalokitesvara as the distinctively feminine Goddess of Mercy (Guanyin). Her necklaces of symmetrical loops and pendants closely resemble those of richly adorned images dating to the late 14th century, which spanned the Mongol Yuan dynasty (1279 1368) and China’s return to native rule under the Ming (1368 1644).
This image originally contained a strip of paper inscribed in Tibetan with Sanskrit mantras (ritual chants). Although both Yuan and Ming elites maintained close relations with Tibet, the presence of this sacred record in an elegantly secularized figure is unusual.
1926.282a 1350-1400 Gilt Bronze 35.6 × 15.7 × 8.1 cm (14 × 6 1/8 × 3 3/16 in.) Lucy Maud Buckingham Collection
In its willowy proportions, as well as facial features and dress, this image exemplifies the Chinese manifestation of the princely Indian deity Avalokitesvara as the distinctively feminine Goddess of Mercy (Guanyin). Her necklaces of symmetrical loops and pendants closely resemble those of richly adorned images dating to the late 14th century, which spanned the Mongol Yuan dynasty (1279 1368) and China’s return to native rule under the Ming (1368 1644).
This image originally contained a strip of paper inscribed in Tibetan with Sanskrit mantras (ritual chants). Although both Yuan and Ming elites maintained close relations with Tibet, the presence of this sacred record in an elegantly secularized figure is unusual.
1926.282a 1350-1400 Gilt Bronze 35.6 × 15.7 × 8.1 cm (14 × 6 1/8 × 3 3/16 in.) Lucy Maud Buckingham Collection
In its willowy proportions, as well as facial features and dress, this image exemplifies the Chinese manifestation of the princely Indian deity Avalokitesvara as the distinctively feminine Goddess of Mercy (Guanyin). Her necklaces of symmetrical loops and pendants closely resemble those of richly adorned images dating to the late 14th century, which spanned the Mongol Yuan dynasty (1279 1368) and China’s return to native rule under the Ming (1368 1644).
This image originally contained a strip of paper inscribed in Tibetan with Sanskrit mantras (ritual chants). Although both Yuan and Ming elites maintained close relations with Tibet, the presence of this sacred record in an elegantly secularized figure is unusual.
1926.282a 1350-1400 Gilt Bronze 35.6 × 15.7 × 8.1 cm (14 × 6 1/8 × 3 3/16 in.) Lucy Maud Buckingham Collection
In its willowy proportions, as well as facial features and dress, this image exemplifies the Chinese manifestation of the princely Indian deity Avalokitesvara as the distinctively feminine Goddess of Mercy (Guanyin). Her necklaces of symmetrical loops and pendants closely resemble those of richly adorned images dating to the late 14th century, which spanned the Mongol Yuan dynasty (1279 1368) and China’s return to native rule under the Ming (1368 1644).
This image originally contained a strip of paper inscribed in Tibetan with Sanskrit mantras (ritual chants). Although both Yuan and Ming elites maintained close relations with Tibet, the presence of this sacred record in an elegantly secularized figure is unusual.
1926.282a 1350-1400 Gilt Bronze 35.6 × 15.7 × 8.1 cm (14 × 6 1/8 × 3 3/16 in.) Lucy Maud Buckingham Collection
In its willowy proportions, as well as facial features and dress, this image exemplifies the Chinese manifestation of the princely Indian deity Avalokitesvara as the distinctively feminine Goddess of Mercy (Guanyin). Her necklaces of symmetrical loops and pendants closely resemble those of richly adorned images dating to the late 14th century, which spanned the Mongol Yuan dynasty (1279 1368) and China’s return to native rule under the Ming (1368 1644).
This image originally contained a strip of paper inscribed in Tibetan with Sanskrit mantras (ritual chants). Although both Yuan and Ming elites maintained close relations with Tibet, the presence of this sacred record in an elegantly secularized figure is unusual.
1926.282a 1350-1400 Gilt Bronze 35.6 × 15.7 × 8.1 cm (14 × 6 1/8 × 3 3/16 in.) Lucy Maud Buckingham Collection
In its willowy proportions, as well as facial features and dress, this image exemplifies the Chinese manifestation of the princely Indian deity Avalokitesvara as the distinctively feminine Goddess of Mercy (Guanyin). Her necklaces of symmetrical loops and pendants closely resemble those of richly adorned images dating to the late 14th century, which spanned the Mongol Yuan dynasty (1279 1368) and China’s return to native rule under the Ming (1368 1644).
This image originally contained a strip of paper inscribed in Tibetan with Sanskrit mantras (ritual chants). Although both Yuan and Ming elites maintained close relations with Tibet, the presence of this sacred record in an elegantly secularized figure is unusual.
1926.282a 1350-1400 Gilt Bronze 35.6 × 15.7 × 8.1 cm (14 × 6 1/8 × 3 3/16 in.) Lucy Maud Buckingham Collection
In its willowy proportions, as well as facial features and dress, this image exemplifies the Chinese manifestation of the princely Indian deity Avalokitesvara as the distinctively feminine Goddess of Mercy (Guanyin). Her necklaces of symmetrical loops and pendants closely resemble those of richly adorned images dating to the late 14th century, which spanned the Mongol Yuan dynasty (1279 1368) and China’s return to native rule under the Ming (1368 1644).
This image originally contained a strip of paper inscribed in Tibetan with Sanskrit mantras (ritual chants). Although both Yuan and Ming elites maintained close relations with Tibet, the presence of this sacred record in an elegantly secularized figure is unusual.