Guanyin of the Southern Sea, Liao (907-1125) or Jin Dynasty (1115-1234) Chinese Wood with multiple layers of paint 95 x 65 inches (241.3 x 165.1 cm) Purchase: William Rockhill Nelson Trust, 34-10 Location: Gallery 230 This polychrome wooden figure of Guanyin is possibly the best-preserved and most magnificent sculpture from this period of Chinese Buddhist art. A bodhisattva, unlike a Buddha, refrains from entering Nirvana until all sentient beings have attained enlightenment. Guanyin, the bodhisattva most associated with compassion by Chinese Buddhist followers, is depicted here in a pose of royal ease. Gentle and calming, the Guanyin bodhisattva would appeal to patrons in need of emotional support and guidance. With coloring dated to no later than the mid-16th century, the sculpture’s vivid tonal intensity adds to the bodhisattva’s emotional approachability. The background is part of the monumental Chinese wall painting, Paradise of Tejraprabha Buddha. Measuring over 23-feet high and 48-feet wide, the Museum’s monumental Chinese wall painting, Paradise of Tejraprabha Buddha, is one of the few surviving examples from the Yuan Dynasty (1279-1368), a period of great accomplishment for Chinese mural painting. www.nelson-atkins.org/art/ConsStudyWall.cfm The wall was made in one piece for the temple, but it was cut into 47 sections to ship the painting out of China. The Nelson-Atkins acquired the mural in 1932. The 47 pieces were strengthened with plaster and steel before it was attached to the Museum’s wall in 1933. Originally, this painting was the center of spiritual rituals in a Buddhist monastery in Shanxi province called the Monastery of Expansive Victory. In the mural, Buddha is surrounded by a group of attendants. In the center of the wall is Tejraprabha, whose name literally means “blazing light.” This Buddha’s spiritual enlightenment becomes more impressive when we realize that the figures surrounding him represent celestial bodies, including the sun, moon and five planets of traditional Chinese astronomy. Bright colors dominate the center of the mural, with dark colors used extensively around the outer edges. The artists purposefully painted in this manner to create the illusion that the entire assembly is illuminated by light radiating from the central Buddha.

Avalokiteshvara

Statue of Prajnaparamita.

安倍文殊院の寺宝と文化財です。安倍文殊院には国宝や寺宝、文化財が多数おかれてありそれらをご紹介させて頂いております。本堂にある渡海文殊様や、かわいいと噂の善財童子様もありますのでぜひご覧ください。