Figurine: Guanyin (Kannon, Kuanyin, Avalokiteshvara), Stand

This is the base stand of a Guanyin (Kuan Yin) carving. It can be determined that it was carved in the 18th century due to it possessing a mark of the Qianlong reign (1735-1796). As the bodhisattva of mercy, Guanyin is known, in Chinese interpretations, for compassion and the ability to help women who want to have children.

Lacquerware was typically produced in government-sponsored workshops, though this was not always the case. In times of economic prosperity, the commercial workshops of southern China, particularly the southeastern provinces of the Song and Yuan periods (13th-14th century) and the late Ming era (1368-1644), were innovative in their approaches to creating lacquer items. Lacquer items from the Qing palace workshops were, at first, carved by craftsmen capable of overcoming the difficulties of lacquer carving due to their experience carving bamboo and ivory. However, the rapid political and economic decline of the Qing Dynasty (1644-1911) following the age of Qianlong resulted in the closing down of many palace workshops, and the lacquer items made afterwards were fewer and had diminished in quality.

Dursum, Brian A. et al. China’s Last Empire: The Art and Culture of the Qing Dynasty, 1644-1911. Coral Gables: Lowe Art Museum, 2014.

Hutt, Julia. Understanding Far Eastern Art: A Complete Guide to the Arts of China, Japan and Korea - Ceramics, Sculpture, Painting, Prints, Lacquer, Textiles and Metalwork. New York: E.P. Dutton, 1987.

Spurlock Museum of World Cultures. Sculpted Stories: Selected Works from the Fred Freund Collection. University of Illinois at Urbana-Champaign, n.d.

Watt, James C. Y., and Barbara Brennan Ford. East Asian Lacquer: The Florence and Herbert Irving Collection. New York: The Metropolitan Museum of Art, 1991.