An outstanding carved wood figure of Avalokitesvara China, Liao Dynasty

finely carved with the deity reclining in lalitasana with the left leg pendent over a ledge and the right leg drawn up in a supremely relaxed and contemplative posture, the legs wrapped in loose skirts spreading over the edge in layered folds animated by curling hems and an apron secured with trailing ribbons, the plump belly and torso left bare but for a thin shawl across the shoulders secured by a diagonally draped ribbon below locks of hair trailing over the shoulders, the face cast down in pensive manner with the small features finely carved with bow-shaped eyes half closed over the small bud mouth, the hair dressed in a high chignon secured with a large openwork crown set with the Buddha Amitabha on a lotus base against a flaming mandorla framed by luxuriant reticulated foliate scrolls, the symmetrical curls at the hairline echoing the sinuous curls of the jeweled necklace, with ample traces of successive layers of devotional overpainting overall in varied tones of gesso and mineral pigments

The present figure exhibits the characteristic high openwork crown and proportions of facial features closely related to those on clay figures datable to AD 1038 in the Lower Huayansi complex, Datong, Shanxi province, and is a particularly evocative and early example of the tradition of large wood figures made for temples and monastic complexes through the Song and Jin dynasties.

The iconography of the figure is derived from an episode in the 'Flower Garland' or Avatamsaka Sutra (Ch. Huayan) in which its protagonist, the youth Sudhana, in his search for true wisdom, seeks Avalokitesvara on his island residence on Mount Potalaka (Ch. Budaluojia), where the divine Compassionate One appears, in 'royal ease' within a grotto, and debates with Sudhana. Note the discussion on the origins of the variant 'royal ease' posture utilised here, which became popular along with the spread of the Avatamsaka Sutra in China from the tenth century, see Derek Gillman, 'A New Image in Chinese Buddhist Sculpture of the Tenth to Thirteenth Century', Transactions of the Oriental Ceramic Society, 1982-83, Vol.47, London, 1983, pp.32-44.

Liao dynasty examples in wood appear to be very rare, and bear distinctive differences in proportions of the face, and massing of the body, from Song and Jin versions. A very closely related 'Water-moon' Avalokitesvara, with slightly different posture but similar face and crown, was recently exhibited by A & J Speelman Ltd., at the International Asian Art Fair, New York, and illustrated in the accompanying Handbook, 2004, p.64. The relatively long right arm and the treatment of the hair and scarves are also related to a Liao figure in the Honolulu Academy of Arts, illustrated in Hai-Wai Yi-Chen: Buddhist Sculpture II, Taipei, 1990, pl.159. Compare also, the agitation of the curling drapery as treated in similar fashion on the monumental Song dynasty wood standing bodhisattva in the Cleveland Museum of Art, ibid., pl.146, as well as the famous Guanyin in lalitasana in the Victoria and Albert Museum, London, pl.150 (four views).

Note a discussion by Howard of Osvald Siren's study, 'Buddhist Sculptures of the Liao Dynasty', Bulletin of the Museum of Far Eastern Antiquities, Stockholm, 1984, no.56. where it appears the subtle turning of the shoulders and more pensive attitude of the head on the present piece are Liao innovations, whereas Song and Jin versions are represented with the shoulders and head viewed frontally.