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Large Two-Sided Painted Elmwood Divider Screen Depicting Guanyin and Zhong Kui
$18,500
£14,051.21
€16,161.46
CA$25,848.13
A$28,823.59
CHF 15,038.92
MX$353,676.26
NOK 191,421.47
SEK 181,367.68
DKK 120,618.93
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About the Item
An antique Chinese unusual large hand painted two-sided elm divider depicting Guanyin and Zhong Kui, from the first half of the 20th century. This antique Chinese large hand-painted two-sided elm divider, circa 1920-1930, captivates with its unusual and striking visual appeal. The screen features two vibrant scenes, each unfolding against a rich, dark brown background that enhances the painted imagery's depth and detail. On one side, the revered Guanyin, bodhisattva of compassion, is depicted seated serenely on a rock near a flowing river, surrounded by elements of natural beauty that symbolize peace and enlightenment. The opposing side presents the formidable figure of Zhong Kui, the vanquisher of ghosts and evil beings, seen trampling demons with a dynamic stance, reflecting his strength and protective power.
Intricate calligraphy embellishes the right side of Zhong Kui's composition, offering an added layer of cultural significance and artistic finesse. The bold use of color and the skillful brushwork bring both figures to life, making this screen not just a functional divider but a magnificent work of art.
With its impressive size and masterful execution, this Chinese two-sided painted divider screen would serve as a dramatic focal point in any room, whether displayed against a wall or used to define spaces within a larger area. Its exquisite details and duality make it an ideal piece for introducing exotic elegance and a sense of history to a living room, hallway, or study.
- Dimensions:Height: 61 in (154.94 cm)Width: 61 in (154.94 cm)Depth: 1 in (2.54 cm)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:circa 1920
- Condition:Wear consistent with age and use. Minor losses. Minor fading. Nice aging throughout, the panel is wired on the side of Zhong Kui. Please refer to the various additional photos for further condition detail and contact us with any questions!
- Seller Location:Yonkers, NY
- Reference Number:Seller: YN5684 / FEA Home1stDibs: LU863921892702
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A fine depiction of Guanyin, possessing the regal tranquillity that the Chinese Bodhisattva of compassion has come to be visually associated with. Marked by an urna signifying her spiritual enlightenment and crowned with a diadem depicting the Buddha Amitabha, the figure is immediately recognisable as Guanyin. Her androgynous figure is gracefully poised in the Lalit asana or “royal ease”, the pose classical in representations of the deity. The figure is asymmetric, with the weight of her supple form falling upon her left hand placed against the base, her right knee raised and left pendant. Her right hand rests upon her raised knee, delicately pinching at her draped attire. At first unassuming, this gesture may be suggestive of the Apana Mudra, the seal of purification. This Mudra is associated with physical wellbeing, fecundity and the cleansing of the body. Though she is adorned in the princely garb of dhoti, she bears features of idealised feminine beauty as prescribed in Asian art. With plump cheeks and near pouted lips, her full face gazes down upon the viewer with an empathetic and half-lidded gaze, upholding her title as ‘One who hears the cries of the world.’
Notes on the item:
Guanyin is the Chinese interpretation of Avalokiteshvara, the Indian Bodhisattva of compassion. The term “Bodhisattva” is derived from the Sanskrit “Bodhi”, meaning ‘awakening’ or ‘enlightenment’, combined with “Sattva”, meaning ‘spirit’ or ‘being’, referring to one on the path to achieving enlightenment. Bodhisattvas in Mayahana Buddhism are recognised as figures who have effectively achieved enlightenment yet relinquish their accension to nirvana in order to remain amongst mankind in the ultimate act of compassion to aid as spiritual guides. As such, the Bodhisattva inhabit a liminal space between samsara and nirvana; enlightened beings that maintain a relationship with humanity that buddhas cannot, as attaining Buddhahood necessitates the abandonment of all worldly attachments, including mankind. Guanyin’s very name, ‘One who hears the cries of the world’ highlights this role as a compassionate figure who acknowledges the suffering and strife of man. Along with Mahāsthāmaprāpta, a fellow bodhisattva, Guanyin serves as an attendant to Buddha Amitabha, with these three deities recognised as the Three Sages of Western Pure Land Buddhism, a sect of Mayahana Buddhism popular in East Asia.
Avalokiteshvara is commonly posited to have been adopted from Indian Buddhism into China as Guanyin around 200-400 CE, however it was the Tang dynasty (618-907) which saw the popularisation of the deity. By the Ming (1358–1644) and Qing (1644–1911) dynasties, Guanyin held the position as the most popular female deity in China. The unique state of religion in China held no monolithic canon regarding Buddhism and saw the assimilation of several belief systems, primarily Daoism, Buddhism and Confucianism. Consequently, Guanyin became a deity to be revered beyond Buddhism alone, appointed as both an official imperial deity and Daoist deity in the 12th century. Guanyin may also be seen to fulfil the role of idealised femininity as prescribed by Confucianism, with the scarcity of female Chinese deities perhaps accounting for the gradual gender shift Guanyin underwent.
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