Tag: sculpture

Kuan yin

Kuan yin (in Pinyin, Guanyin) is a deity with multiple identities, including multiple gender identities. According to the Lotus Sutra, the Buddha said, “If living beings in this land must be saved by means of someone in the body of a Buddha, Guanshiyin Bodhisattva will manifest in the body of a Buddha and speak Dharma for them.” And if someone needs to be saved by this boddhisattva, Guanshiyin, who is also known as Guanyin or Avalokiteshvara, will manifest him/herself in whatever form works best:

“If they must be saved by someone in the body of the wife of an Elder, a layman, a minister of state, or a Brahman, he [sic] will manifest in a wife’s body and speak Dharma for them. If they must be saved by someone in the body of a pure youth or pure maiden, he will manifest in the body of a pure youth or pure maiden and speak Dharma for them. If they must be saved by someone in the body of a heavenly dragon, yaksha, gandharva, asura, garuda, kinnara, mahoraga, human or non-human, and so forth, he will manifest in such a body and speak Dharma for them.” [trans. from City of Ten Thousand Buddhas Web site

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Above: “The Boddhisattva Avalokiteshvara (Chinese: Guanyin), 1300-1400 CE,” Asian Art Museum, catalog no. B61S37+

Guanyin also became a Daoist deity, a female immortal; one can chant a spell to the Daoist Guanyin “whereby one will accomplish unimaginable virtues, and give evidence to the penetration of the absolute.” (Guanyin mizhou tu)

Guanyin

Above: A Daoist Guanyin, adapted from Henrik Sorenson’s article “Looting the Pantheon.”

“The increasing Daoist appropriation and transformation of the Avalokiteshvara cult and the associated teachings which took place during the later imperial period, is also reflected in the mid-Qing work, the Guanyin xin jing bijue (‘Secret Explanation on the Heart Scripture of Avalokiteshvara’). This text, which to all appearances and purposes appears to be a Buddhist commentary on the Prajnaparamitahrdaya sutra, one of the most important and popular Buddhist scriptures in China, on closer examination turns out to be a Daoist commentary on the Buddhist sutra. In addition to its full-scale doctrinal modification, it casts Avalokiteshvara in the role as a female immortal (nuxian) from the Zhou dynasty (1122–255 BCE). … the level of appropriation [of Buddhist deities by Daoism] could, and often did, go well beyond superficial borrowing, ending with something akin to full-scale integration.”

— Henrik H. Sørensen, “Looting the Pantheon: On the Daoist Appropriation of Buddhist Divinities and Saints,” The electronic Journal of East and Central Asian Religions, vol. 1 (Edinburgh: Asian Studies at the University of Edinburgh, 2013), p. 62.

Fudo Myoo

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Fudo Myoo is a Japanese Buddhist deity, one of the Five Great Kings, or Godai Myoo.

The Godai Myoo “are considered to have great magical powers to fight against heresy, passion, ignorance, illusion, and other spiritual obstacles. The most popular Myoo in Japan is Fudo, whose name means literally ‘The Immovable One.’ He is an incarnation of Dainichi Nyorai, who is an idealization of the truth of the universe, from whom all other Buddhas and boddhisatvas are born. Fudo is thought to fight against all evil to protect Buddhist law.” — Selected Works: The Asian Art Museum of San Francisco (San Francisco: Asian Art Museum, c1994), p. 179.

This image is a digitally manipulated photograph of a sculpture in the Asian Art Museum labeled “The Buddhist deity Achala Vidyaraja (Japanese: Fudo Myoo),” dated to 1100-1185, catalog no. B605146+.

Doumu

Doumu

Above: porcelain image of the Taoist deity Toumu [Doumu], made in Fujian province in the 18th century, now in the Asian Art Museum, San Francisco (catalog no. B60P1362).

“The Dipper Mother [Doumu] is a star deity and a Daoist adoption of the Tantric deity Marici, a personification of light and dawn. As a savior and healer, she is invoked through visualizations that unite the adept with cosmic light and ‘oneness with cosmic principles’ (75-76). As the cosmic mother of the nine star-gods of the dipper, she is a nurturer and instructress, but the Dipper Mother also maintains her own salvific powers and authority.”

From a book review by Sara Elaine Neswald of McGill University on the Daoist Studies Web site (2 Dec. 2004), of the book Women in Daoism by Catherine Despeux and Livia Kohn (Cambridge, Mass.: Three Pines Press, 2003).

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Update: August 12, 2019: Entry on Doumu in E. T. C. Werner, Myths and Legends of China (London: George G. Harrap & Co., 1922), pp. 144-145:

Goddess of the North Star

Tou Mu, the Bushel Mother, or Goddess of the North Star, worshipped by both Buddhists and Taoists, is the Indian Maritchi, and was made a stellar divinity by the Taoists. She is said to have been the mother of the nine Jen Huang or Human Sovereigns of fabulous antiquity, who succeeded the lines of Celestial and Terrestrial Sovereigns. She occupies in the Taoist religion the same relative position as Kuan Yin, who may be said to be the heart of Buddhism. Having attained to a profound knowledge of celestial mysteries, she shone with heavenly light, could cross the seas, and pass from the sun to the moon. She also had a kind heart for the sufferings of humanity. The King of Chou Yu, in the north, married her on hearing of her many virtues. They had nine sons. Yuan-shih T’ien-tsun came to earth to invite her, her husband, and nine sons to enjoy the delights of Heaven. He placed her in the palace Tou Shu, the Pivot of the Pole, because all the other stars revolve round it, and gave her the title of Queen of the Doctrine of Primitive Heaven. Her nine sons have their palaces in the neighbouring stars.

Tou Mu wears the Buddhist crown, is seated on a lotus throne, has three eyes, eighteen arms, and holds various precious objects in her numerous hands, such as a bow, spear, sword, flag, dragon’s head, pagoda, five chariots, sun’s disk, moon’s disk, etc. She has control of the books of life and death, and all who wish to prolong their days worship at her shrine. Her devotees abstain from animal food on the third and twenty-seventh day of every month.

Of her sons, two are the Northern and Southern Bushels; the latter, dressed in red, rules birth; the former, in white, rules death. “A young Esau once found them on the South Mountain, under a tree, playing chess, and by an offer of venison his lease of life was extended from nineteen to ninety-nine years.”

Ceremonial deity, Phillippines

Ceremonial Deity, Philippines

Above: Sketch of a “ceremonial deity,” Philippines, c. 1930. Wood and shell. Asian Museum of Art.

One of delights of going to the Asian Art Museum in San Francisco is seeing the diversity of depictions of deities. Today I particularly noticed the unnamed deities — like this sculpture of an unnamed ceremonial deity, made in the Philippines around 1930. Why do we not know the name of this deity? Is it because it is a minor deity, and thus not widely identifiable (though perhaps readily identifiable by a devotee)? Did it never have a name that could be spoken by humans? Or was this a deity like the Roman Lares familiares, the household gods, who don’t seem to have had names, or whose power was so geographically restricted that their names perhaps were known only to the household they protected?

I think that the end of Christendom is allowing us to see such minor deities more clearly. In the worldview of Christendom, only the major deities — the wildly transcendent deities, Jehovah’s direct competition — were worthy of serious attention. Now maybe we can pay a little more attention to the many minor deities who inhabit the metaphorical space between those distant transcendent deities and mortal creatures.

New Jersey

E and her sweetheart and Carol and I spent the morning in Lambertville, New Jersey, a town where people have front porches that come right to the edge of the sidewalk. Some of the porches feature interesting decorations; one porch featured a collection of plastic dinosaur and dragon toys.

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Above: Lambertville, New Jersey

Then we went to Grounds for Sculpture, a sculpture park in Hamilton, N.J. Not only did we see some very fine work by a wide range of contemporary artists, but I felt the grounds were particularly well-designed to display sculpture.

Grounds for Sculpture

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Above two photographs: Grounds for Sculpture, Hamilton, N.J.

We were also able to get a brief tour of the Johnson Atelier, a sculpture foundry next door to Grounds for Sculpture. I once worked for a sculptor who cast work at the Johnson Atelier, but I wasn’t part of the in-crowd so I never got to go along when he was casting work there. The Johnson Atelier no longer pours molten metal, but they do everything else involved in the founding process: enlarging, mold-making, chasing and finishing, applying patina, etc.

The Johnson Atelier leases part of their space to the Digital Atelier. They do highly accurate laser scans of three dimensional objects, modify the scans as necessary in CAD software (enlarging, fixing problems, etc.), then produce a 3-D product in foam (which can then be cast in bronze or another metal) or wood using a CNC milling machine. I asked the man who gave us the tour of the Digital Atelier about 3D printing, and he said 3D printers could not yet work at the large scale they needed, he was watching the technology closely.

The technology of sculpture has come a long way since I worked for the sculptor.

Inside “La Cabeza” by Niki de Saint Phalle

“La Cabeza” is part of the show “Creation of a New Mythology,” now at the Bechtler Museum of Modern Art in Charlotte, N.C. Five monumental sculptures are outdoors in a public park across the street from the museum; and you can climb inside this sculpture. You can also stick your arm through its teeth.

Andy Warhol Robot, Chattanooga, Tennessee

Andy Warhol Robot by Nam June Paik

We spent last night in Chattanooga, and this morning we decided to visit the Hunter Museum of American Art. “Andy Warhol Robot,” a 1994 sculpture by Nam June Paik on loan from the Kunstmuseum, greeted us as we entered the musuem. The main body of the robot is made out of cabinets of early television sets; the original cathode ray tubes (CRTs) have been replaced by newer CRTs which display short video clips by Paik. Other robot body parts include cameras, film projectors (at least that’s what I think they are) canned soup, and a Brillo box sculpture made by Andy Warhol.

As we were leaving the museum, a woman and two boys, aged about five and seven, were standing in front of the robot. The two boys were looking up at it with great interest, and as we walked by, I could overhear one of the boys telling the woman some story that involved explosions and either monsters or robots.