Potala Guanyin (900s CE)

The Potala Guanyin is a captivating small sculpture that embodies the essence of compassion in Buddhist art. Carved from precious sandalwood during China’s tumultuous Five Dynasties period in the 900s, this portable figure depicts Guanyin, the Bodhisattva of Compassion (known as Avalokiteshvara in Sanskrit), who resides on the mythical Mount Potala. With its intricate floral garlands and traces of original red paint, it offers a glimpse into ancient personal devotion, inviting us to reflect on the timeless vow to alleviate human suffering.

The Potala Guanyin originates from China during the Five Dynasties period (907–960 CE), a time of political fragmentation following the fall of the Tang Dynasty (618–907 CE). This era saw five short-lived dynasties in the north and ten kingdoms in the south, marked by wars and instability, yet it fostered cultural and artistic innovation, especially in southern regions like the Nan Tang kingdom in Nanjing or Wuyue in Hangzhou, where Buddhism thrived under royal patronage. The sculpture, dated to the 900s, reflects a shift toward more naturalistic and intimate Buddhist art, moving away from the grand stone statues of the Tang era. Poets and artists like Li Yu (Li Houzhu) of the Nan Tang supported such works, blending Buddhism with Chinese philosophies like Taoism. This piece exemplifies the resilience of Buddhist devotion amid chaos, including a brief persecution of Buddhism in 955 CE that destroyed many artifacts.

One poignant anecdote tied to Guanyin, and by extension this sculpture, draws from Mahayana Buddhist lore: Avalokiteshvara, overwhelmed by the endless suffering in the world after saving countless beings, saw his head shatter into 11 pieces and his arms into 1,000 from the strain of compassion. His guru, Buddha Amitabha, restored him with multiple heads to hear all cries of pain and a thousand arms to aid everyone, symbolizing boundless empathy. In another variant, Avalokiteshvara swallowed poison from a demon to protect sentient beings, turning his throat blue—a tale that underscores the bodhisattva’s self-sacrificing vow. These stories, rooted in sutras like the Gaṇḍavyūha Sutra, inspired devotees to carry portable figures like this one for personal reflection and strength during uncertain times.

Within its cultural and artistic context, the Potala Guanyin represents the Mahayana Buddhist ideal of karuna (compassion), a universal principle of interconnectedness that transcends personal emotions. Guanyin, evolving from a potentially male or gender-neutral figure in India and Tibet to a more feminine, maternal form in China by the Tang Dynasty, symbolizes protection and aid for all, often compared to the Virgin Mary in Western traditions. She can manifest in 33 forms to help diverse individuals, embodying accessibility and mercy. Artistically, this piece highlights the Five Dynasties’ trend toward smaller, personal devotional objects, using luxurious materials like sandalwood to evoke sensory engagement through its fragrance and durability. Ritually, it likely served in private meditation or prayer, allowing individuals to connect with Guanyin’s mythical home on Mount Potalaka—a “pure land” of enlightenment and observation, as described in sutras. This mountain, meaning “Brilliance,” inspired real sites like Mount Putuo in China, the Potala Palace in Tibet (residence of the Dalai Lama, seen as an incarnation of Avalokiteshvara), and temples worldwide, underscoring Guanyin’s global symbolic role in fostering empathy and spiritual perseverance.

The sculpture is crafted from carved sandalwood, a luxurious and aromatic wood prized in Chinese art for its durability and scent, which enhanced its use in religious contexts. It features traces of original paint, primarily red, on the elaborate garlands of flowers that adorn the figure. The dimensions are 15.1 x 9.9 cm (5 15/16 x 3 7/8 in.), making it compact and portable. Technically, the piece showcases fine detailing possible with wood, including draped clothing, jewelry, and a likely “royal ease” pose—right leg drawn up with bent knee, left leg folded, and one hand resting on the knee—symbolizing relaxed vigilance. This contrasts with larger, more dramatic depictions like the “Thousand-Armed Guanyin,” emphasizing intimacy over grandeur.

The provenance of the Potala Guanyin traces back to the mid-20th century, though earlier ownership remains unknown, likely circulating in the art market. It was sold to the Cleveland Museum of Art in 1965 by Ellsworth and Goldie, Ltd., a New York-based dealer.