Guanyin wood sculpture with color paintings: Song Dynasty
《The Wonderful Dharma Lotus Flower Sutra Chapter Twenty-five, "The Universal Door of Gwan Shr Yin Bodhisattva”》said: "if all the countless hundreds of thousands of millions of living beings tormented by misery and pain hear of Gwan Shr Yin Bodhisattva, and with all their hearts invoke his name, Gwan Shr Yin Bodhisattva will immediately respond to their prayers and set them free.”
GuanShiYin Bodhisattva returns from the ancient Buddha. According to 《The great compassion Sutra》: this GuanShiYin Bodhisattva has an incredible power of God, and has become a Buddha from numerous disasters in the past.
The great compassion is willing to initiate all Bodhisattvas for the desire, and become Bodhisattvas for the happiness and satiable all beings.
Buddhism was introduced into the Central Plains from the east of the Han Dynasty. After thousands of years of development and evolution, it has become a very important philosophy in Chinese civilization. The Buddhist art, which has developed with it, has set off a great wave in China and is a bright pearl in the history of Chinese art.
In the later Qin Dynasty, after kumarashi translated the Sutra of fa-hua into Chinese, the belief of Avalokitesvara began to be popular in China in a large scale. The popularity of the popular items in Tang Dynasty was very common. At that time, the Tang Dynasty only called Guanyin for avoiding the name of Emperor Taizhong, Li Shi Min. Later generations have continued to use it.
The image style of Guanyin originated from Zhou Fang, a painter in the middle Tang Dynasty. He was appraised as such in volume 10 of 《The Famous Paintings OF All Dynasties》: He served as the governor of Xuanzhou, and imitated Zhang Xuan's paintings in the early stage, but later his painting style was quite different and more elegant,he is not close to the countryside, with simple clothes and soft colors. The style of Shui Yue Guanyin created by him is very ingenious, and Bodhisattva's face is solemn. It can be seen from the Buddha statues of Dunhuang and Shanxi in the middle and late Tang Dynasty.
In Song Dynasty, with economic prosperity, Buddhism went deeper into the folk, reflecting the aesthetic preferences of the society at that time from art. The Buddhist statues in Liao, Song and Jin Dynasties are different from those in Sui Dynasty and Tang Dynasty. They present a sense of modesty, elegance, leisure and self-adaptive.
In the history of Buddhist sculpture, the statues of Buddhism in Song, Liao and Jin Dynasties, which were made by elegant and solemn charm, had its special orientation of the times, and a sentence "if there is no wood sculpture from Song Dynasty, it can not be called a museum" showed the position of the statues of wood Buddha in the art collection circle in Song, Liao and Jin Dynasties.
The Bodhisattva Avalokiteshvara, while dwelling in the deep Perfection of Wisdom, sees clearly that the Five Skandia’s are all empty and is thus free from all suffering.