Five Forms of Guanyin
Mount: 11 3/8 × 222 inches (28.89 × 563.88 cm)
Art in Asia and the West, San Francisco Museum of Art, October-December 1957.
Chinese Painting of the Late Ming Period, University of California (Berkeley) Art Museum, November 9, 1971-January 2, 1972; Fogg Art Museum, Harvard, late January-late March, 1972.
Eight Dynasties of Chinese Painting, Nelson-Gallery-Atkins Museum, Kansas City, November 7, 1980 – January 4, 1981; The Cleveland Museum of Art, February 7 – April 5, 1981; The Asia Society, December 3, 1981 – February 28, 1982; Tokyo National Museum, October 4 – November 17, 1982, no. 202.
Latter Days of the Law: Images of Chinese Buddhism 850-1850, Spencer Museum of Art(organizer), August 28-October 9, 1994; Asian Art Museum of San Francisco, November 30, 1994-January 29, 1995. no. 49.
The Sacred Tripod: Buddhism, Confucianism & Daoism in Harmony, The Nelson-Atkins Museum of Art, Kansas City, February 19- August 14,2011.
The white parrot perched on a hanging wisteria branch attends Guanyin, the Bodhisattva of mercy and compassion, in the deity’s home island in the Southern Sea. There, the bird, the young pilgrim Sudhana, and the dragon king with his attendants receive the Buddhist teaching from Guanyin, depicted here as an aged woman. The bird’s presence might have derived from both folk tradition and Buddhist scriptures.
With Jean-Pierre Dubosc, Peiping, by August 1947;
Purchased from Dubosc by C. T. Loo & Co., New York, stock no. LD-7/131, August 1947-1950 [1];
Purchased from C. T. Loo, Inc. by The Nelson-Atkins Museum of Art, Kansas City, MO, 1950.
NOTES:
[1] C. T. Loo/Frank Caro archive, Musée Guimet, Paris, copy of stock card in Nelson-Atkins curatorial files. The stock card also indicates that this object is "from the Imperial Collection" but this has not been confirmed. C. T. Loo & Co. was incorporated as C. T. Loo, Inc. in 1949.
Bi dian zhu lin xu pian 秘殿珠林續編 [Catalogue of Buddhist and Taoist paintings and texts in the imperial collection: sequel (part II)] Wang Chieh, et. al. commissioned by the Qianlong emperor, 1791; completed, 1793. Facsimile reprint with the Shi chu bao ji xu bian 石渠寶笈續編, (Shanghai: 1948), ch.3, 101a.
Archives of the Chinese Art Society of America, Vol. V. (New York: 1951), 75, fig. 17.
Grace Morley, Art in Asian and the West, exh. cat (San Francisco: ., San Francisco Museum of Art, 1957), 34, no. 18w.
Osvald Siren, Chinese Painting: Leading Masters and Principles (New York: 1956-1958), vol. V, 60; vol. VI, pl. 309.
Lin Yutang, Imperial Peking (London: 1961), pl. 76-77.
James Cahill, ed. The Restless Landscape: Chinese Painting of the Late Ming Period, exh. cat., (Berkeley: University of California Art Museum, 1971), 148, no. 79, pl. 156.
Terukazu Akiyama, et. Al., ed. Chugoku bijutsu [Chinese art in Western collections]. Kaiga [paintings]: v. I., ed. Kei Suzuki and Terukazu Akiyama, v. II, ed. Kei Suzuki and Teisuke Tosa (Tokyo: 1972-1973), vol. II, 253, pl. 88.
Sewall Jerome II Oertling, “Ting Yun-p’eng: A Chinese Artist of the Late Ming Dynasty” Ph.D. dissertation, University of Michigan, 1980.
Wai-Kam Ho, et al., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of Art. (The Cleveland Museum of Art in cooperation with Indiana University Press, c1980), 258-260, no. 202.
James Cahill, The Distant Mountains Chinese Paintings of the Late Ming Dynasty (1570-1644) (New York, Tokyo: Weather hill, 1982) pl. 121.
Mary H. Fong, “Dehua Figures: A Type of Chinese Popular Sculpture” Orientations 21, no. 1 (January, 1990): fig. 4.
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 327.
Marsha, Wiedner, Latter Days of the Law: Images of Chinese Buddhism 850-1850, Spencer Museum of Art (Lawrence, KS: University of Kansas, 1994), 360-362, no. 49, pl.26.
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 363, fig.245.
