YUAN DYNASTY 1279 – 1368 Qingbai Porcelain
A Qingbai Porcelain Model of Guanyin, Probably a Kiln at Jingdezhen, Yuan Dynasty 1279-1368.
- Repaired ; the head has been re-attached. There are some losses repaired, the end of her robe which is draped over her folded leg and the curl to the left emanating from the lotus leaves at the bottom.
- Height : 17.5 cm (7 1/2 inches)
- Stock number
- For a similar Yuan Qingbai model of Guanyin from the Ian Wasserman collection which is also illustrated in Chinese and Annamese Ceramics Found in the Philippines and Indonesia (plate 24) see : Fine Oriental Ceramics and Works of Art, Sotheby`s London, 10th of July 1979, lot1 28.
Although not obviously a piece made for export large amounts of Qingbai porcelain were exported to the Philippines and Indonesia. Small devotional objects like the present example would have been popular in these countries but also in China itself.
Qingbai Ware :
The earliest known qingbai wares were produced in Jingdezhen in Jiangxi province around the late 10th century and are characterized by faint pale-blue glazes on low, wide forms. Qingbai continued to be enormously popular and highly produced throughout the Song dynasty (960-1279) and was prevalent in the Yuan dynasty (1279-1368), but slackened during the Ming dynasty (1368-1644) until being replaced by tianbai, ‘sweet white’ ware. The initial forms of qingbai were simple bowls and dishes, but by the mid-Northern Song the forms had advanced to include a wide variety of objects used for daily life such as ewers, boxes, incense burners, granary models, vases, jars, sculptures, cups, cupstands, water droppers, lamps, grave wares, and tools for writing and painting. The precedent for the majority of these forms is found in earlier metalwork and lacquer and Rawson has suggested that the imitation of silver was the primary force behind the production of white wares, including qingbai. See our `History` section for more information about Song Porcelain and Stoneware by Mindy M. McDonald.
Figures of Guanyin are some of the most commonly encountered images in Chinese figurative art. Guanyin was the Goddess of mercy. Her origins stem from Tibetan Buddhism, she was originally the patron saint of Tibetan Buddhism `Avalokitesvara`. Guanyin is actually the shorter form of the name Guan shi yin, which means “one who observes the voices of the world.” True to her name, Guanyin listens to and understands the worries that plague man`s existence. Because of her mercy and generosity, Guanyin is the most-loved of China`s divinities, the one people turn to for assistance in their everyday lives. Guanyin is specially venerated by those who are hoping to have children or those who are about to set out for sea. Guanyin has been said to have some of the same qualities as the Virgin Mary of Catholic theology, like the Virgin Mary she is sometimes portrayed holding a child in her arms, indeed she was associated with fecundity and given the title `Giver of Sons`. Guanyin is usually portrayed wearing a white cape. In her right hand. On her head is a crown in the style of the Amitabha-buddha, she is normally shown meditating in a seated position. While the worship of Guanyin can be traced back historically to India, she is the star of countless legends and folk tales in China. Guanyin`s home on earth was the Putuo mountains, located on an island on China`s eastern coast to the south of Shanghai. In China, Putuo-shan is one of the most sacred places in Buddhism and the temple dedicated to Guanyin on the mountain is one of the most important pilgrimage site for Buddhists and non-Buddhists alike. Guanyin`s birth is celebrated on the 19th day of February, and her enlightenment is celebrated on the 19th of September. On those days, the pilgrims flock to Putuo mountain.