A wood figure of Avalokiteshvara, Southern Song dynasty | 南宋　木雕觀世音菩薩坐像

Acquired in Japan in the 1980s.

Following the political shift to the south in the Song dynasty, Buddhist imagery took on a more naturalistic treatment and exuded an element of tranquility – qualities encapsulated in the present figure.

Since the Song dynasty, depictions of seated Guanyin have more commonly featured the "royal ease" posture (lalitāsana), while representations in full lotus posture are relatively rare. Compare a similar polychrome wood seated figure of Guanyin, preserved in the Palace Museum, Beijing,  no. xin 00058305.

來源

得於日本，1980年代

此尊觀世音菩薩結跏趺坐，施禪定印，儀態寂靜莊嚴。衣袍垂覆蓮台，疏密有致，瓔珞披挂胸腹，珠粒分明；頂髻高梳，佩戴寶冠，鬢髮於耳後束起，分作三綹披於肩膊。隨宋代（960-1279年）格物致知思潮發展，造像風格更趨自然寫實，政治中心南移後，造像氣質更見溫雅安恬，恰如此尊。

兩宋以來，坐姿觀世音多呈自在坐形象，跏趺坐者較罕。可比一木雕彩繪觀世音菩薩坐像，坐姿、手印，乃至開臉容貌、衣紋垂墜，皆與此尊相類，藏北京故宮博物院，藏品編號新00058305。