Sculpture of seated Guanyin; China, Ming dynasty, 16th century

Sculpture of seated Guanyin; China, Ming dynasty, XVI century.
Bronze, with gilding.
Slight lack in the fingers of the right hand.
Measurements: 46 x 24 x 20 cm.
Also known as bodhisattva of compassion, Guanyin is venerated by the Buddhists of East Asia. As a result of syncretism, it is commonly accepted that her figure is the female counterpart of Avalokitesvara, Hindu bodhisattva of compassion. The first Buddhist monk who referred to Guanyin in feminine form was Kumarajiva, when he translated the Lotus Sutra into Chinese in 406 AD. With the introduction of Vajrayana Buddhism in China during the Tang dynasty, in the 8th century, the representation of Avalokitesvara as a beautiful female figure dressed in white grew in popularity. In popular devotion, Guanyin rescues those who turn to her in times of difficulty, especially in the face of dangers produced by water, fire or weapons. As a Merciful Mother, she also responds to the requests of those who wish to have children, which is why she is usually represented accompanied by a child. The iconography of Guanyin is rich and varied, and includes various symbolic elements alluding to different concepts. One of them is the flowering lotus branch, Buddhist symbol of purity because it emerges untainted from the mud. Other symbols are the willow branch, with which the bodhisattva sprinkles the nectar of divine life, and the vase or small bottle, which is the nectar of compassion and wisdom.
The Ming dynasty is one of the longest periods in Chinese history, lasting approximately three centuries. After the Yuan period of foreign domination, the Ming period saw the re-establishment of traditional Chinese values. The seventeen emperors of this dynasty reigned in a state of relative peace and prosperity, and belonged to the Han ethnic group (the majority in China), as did the civil service. The economy will be transformed from an agrarian state to a completely mercantile one at the end of the dynasty. Especially from the 16th century onwards, a monetary economy will appear. The industry will be fundamental, there will be important technological advances and a remarkable urban growth. A merchant bourgeoisie appeared, again mainly from the 16th century onwards, and the production of decorative arts was definitively industrialized. This will occur especially in porcelain, which will supply both the Chinese and European markets from this moment on. It is therefore a moment in which China looks to itself, recovering its tradition and, at the same time, initiating new contacts with the West and making important expeditions by sea.