The Personal Collection of the late Sir Joseph Hotung. Lot 27 A large carved and polychrome wood seated figure of Avalokiteshvara, Guanyin, Ming dynasty (1368-1644); 112 cm. Lot sold: 945,000 HKD (Estimate: 400,000 - 600,000 HKD). © Sotheby's 2022

naturalistically modelled seated in  lalitasana on a rock pedestal, with one leg pendant resting on a lotus pod, the right hand held in abhaya mudra , the gesture of fearlessness, and the left hand gently resting on the folded left knee, the Bodhisattva radiating a dignified presence, portrayed with a serene meditative expression, the hair swept up in a high chignon secured by a crown accommodating an image of Amitabha Buddha, with long tresses falling to the shawl-covered shoulders, lavishly adorned with jewellery such as an elaborate beaded necklace, large floral earrings, matching armlets and leglets, wearing a sash draping across the torso and a loose dhoti cascading in voluminous folds around the legs and over the plinth.

Provenance: CRH Ellsworth Ltd, New York, 1st April 1988.

Note: Radiating compassion and a regal presence through the delicate naturalism of its carving and towering form, this magnificent wood sculpture of Avalokiteshvara is a truly majestic legacy of the Ming dynasty (1368-1644). Its stature, classic poise and serene naturalism embody its timelessness; its meditative expression exudes a benign calm and warmth that is instantly approachable and emotionally appealing. Coupled with the opulent ornamentation, sophisticated style of carving and preserved pigments, this sumptuous illustration of Avalokiteshvara conveys their worldliness and non-ethereal status, presenting an overwhelming visual effect that captures the undivided attention of devotees and temple visitors.

Avalokiteshvara became popular as the deity of mercy and compassion, answering prayers and protecting the faithful from catastrophe, here depicted seated in lalitasana on mossy rockery representing Potalaka, an island originally thought to be in the southern sea that is the deity's home. By the Ming dynasty, this fabed paradise had been associated with Mount Putuo, an island off the east coast province of Zhejiang, and had become a major pilgrimage site. In contrast to images of the Buddha, who had already attained enlightenment, bodhisattvas have vowed to remain in the world to ensure the ultimate salvation of all sentient beings.

The portrayal of bodhisattvas in the Ming dynasty largely continued from the sculptural traditions established in the preceding dynasties, with similar poise, expression of the face and overall countenance. For related wood bodhisattvas of the preceding dynasties, see one of the most famous wood bodhisattvas in the Nelson Atkins Museum of Art, accession no. 34-10. It is the centrepiece of the Paul and Helen Bernat Galleries, where it is designated as Jin dynasty (1115-1234); another in the collection of the Victoria and Albert Museum, accession no. A.7-1935. See also three important wood figures of Avalokiteshvara that appeared at auction in the last decade. The first, a larger figure of 175 cm sold at Christie's Paris, 19th December 2012, lot 177 and included in the exhibition Chinese Sculpture C.500-1500, Eskenazi, London, 2014, is now in the permanent collection of the Louvre Abu Dhabi (accession no. LAD 2018.001). Another smaller (66 cm) wood sculpture of Avalokiteshvara, attributed to the Liao dynasty, formerly in the collections of Martin Erdmann and F. Brodie Lodge, sold in our London rooms, 7th June 1988, lot 48 and again at Christie's Hong Kong, 30th May 2018, lot 2858. It is now in the collection of the Tsz Shan Museum, Hong Kong, accession no. 2018.08 (fig. 5). A third example (137 cm) from the collection of John Richard Young was sold in these rooms, 18th April 2021, lot 8002.

The wooden statue of Guanyin is vivid in charm, huge in shape and lifelike. It is a treasure of the Ming Dynasty. The sculpture style is natural and realistic, the temperament is quiet and steady, and the classic is timeless. Guanyin's face is compassionate, his eyes are slightly downcast, and he is quiet and peaceful, showing that the Bodhisattva observes the inner clarity and is not hindered by external images. Jing Si's expression seemed to be in a state of concentration, calm and solemn, yet agile like life, as if he would get up and get off his seat in the next second to help the believers. The deity Guanyin is majestic and majestic, wearing a celestial crown, full of jewelry, richly pleated clothes, and still preserved in mineral colors. It can be imagined how resplendent and solemn it was in the past.

Avalokitesvara Bodhisattva, which means watching and listening to the voices of the world, searching for voices to save suffering, and being compassionate, is one of the most popular among the Buddhas. Guanyin sits on the rugged rock seat, and its rock seat symbolizes Putuoluojia Mountain, an island in the South China Sea. In the Ming Dynasty, Putuo Mountain in Dongyang, Dinghai County, Zhejiang Province, became the landmark of the Bodhisattva Holy Mountain. The world was inhabited by Guanyin, attracting many believers to live in the mountain for pilgrimage.

Sotheby's. HOTUNG The Personal Collection of the late Sir Joseph Hotung: Part 1, Hong Kong, 8 October 2022