Bronze Avalokitesvara Statue

[Standing Statue of Copper Guanyin]

Standing Statue of Copper Guanyin, residual height 17.5cm

The copper of this image has high lead content and high specific gravity. Guanyin has a bun at the top of her hair. Her hair is divided in front of her forehead, and her hair is hanging down at the back of her head in the shape of a lock. The nose is tall and straight, the corners of the eyes are long and thin, and the beard is left. The face is close to European race. The upper body is exposed, the chest is decorated with tassels, and the cloth drapes diagonally to the right knee. The long skirt has dense and detailed patterns. The hands are raised, the dauntless seal is applied, and the drooping hand bottle, feet and backlight are lost. There is a similar one in the neighboring museum of Fujii in Kyoto, Japan, which is said to be from Sanyuan, Shaanxi

Before and after the A.D., Buddhism and its sculpture art were introduced into China from ancient India, which had a great impact on the local culture and art of China. This is a foreign sculpture powder, which became a model for craftsmen to learn and imitate at that time. There are obvious differences between this statue and the Chinese statue in terms of copper and carving techniques. It belongs to Gandhara art style and is the powder of foreign statues. Shaanxi is the center of the transmission of Indian Buddhist statues from the Western Regions to the Central Plains. Radiation transmission has its special geographical and cultural advantages. Some statues in later generations have this trace. For example, the bronze Buddha statue purchased from Xi’an by the Palace Museum imitates this statue. Therefore, we can understand the important role of the bronze Buddha statue in the history of Chinese Buddhist statues