Water Moon Guanyin in Pre-Genghis Esoteric North Asia
The artist Rebecca Wong was inspired to paint the “Water Moon Guanyin” in Cave 2 of the Yulin Grottoes.
Shuiyue Guanyin, also known as “Water-Moon Guanyin” represents a traditionally male form of Guanyin.
Water Moon Guanyin sold by Bonhams
This deity is closely associated with and sometimes seen as an extension of the Thousand-Armed Guanyin. Shuiyue Guanyin is traditionally invoked for purposes such as facilitating a good rebirth, ensuring safe childbirth, and aiding in the quest for enlightenment.
Typically depicted in sculptures and artworks, this manifestation appears as a young figure, either male or female, sitting in a relaxed lalitasana pose next to a pond or lake with the moon reflected in the water.
The moon’s reflection symbolizes the Buddhist concept of Śūnyatā, or emptiness.
Bonhams, an auction house, provided information about a valuable piece of religious art. This artwork, which stands over a meter tall, was created during the Jin Dynasty, specifically between the 12th and 13th centuries.
It’s described as exceptionally rare and was believed to have been lost for a long time. The artwork had been in the possession of a Parisian family since the 1930s, but it was rediscovered in their home and subsequently put up for sale.
The following article discusses the cultural and historical context of Guanyin imagery in various empires, including the Tangut artists’ role in painting the Yulin Guanyin.
It explores the connection between Guanyin and esoteric Buddhism and the diffusion of Guanyin motifs across different empires in Pre-Genghis Esoteric North Asia, suggesting an intangible thread connecting these depictions.
