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Guanyin on a stool and Shancai chasing a parrot, from an album of twenty-four portraits of Guanyin
Guanyin on a stool and Shancai chasing a parrot, from an album of twenty-four portraits of Guanyin

Guanyin on a stool and Shancai chasing a parrot, from an album of twenty-four portraits of Guanyin

Artist (Chinese, active ca. 1565–1585)
Datelate 16th century
MediumAlbum pages: gold ink on dyed paper
DimensionsImage (each): 11 9/16 × 8 11/16 inches (29.4 × 22.1 cm);
Sheet: 14 9/16 × 22 inches (37 × 55.9 cm);
Mat: 22 × 28 inches (55.9 × 71.1 cm)
CultureChina
PeriodMing dynasty
ClassificationsCalligraphy
Credit LineAcquired through the generosity of Judith Stoikov, Class of 1963, supplemented by the George and Mary Rockwell Fund, and gift of Warner L. Overton, Class of 1922, by exchange
Terms
  • Calligraphy
  • Ink
  • Buddhism
  • Bodhisattvas
  • Avalokitesvara
  • Guanyin
  • Children
  • Vases
  • Willows
  • Birds
  • Parrots
  • Stools
  • Amitabha
  • Paper
  • Chinese
Object number2002.012.010
Label CopyAs is the case with many Chinese women artists, little is known of Miss Qiu’s biography beyond the fact that she was the daughter of the famous painter Qiu Ying (active 1530–1550). Two of the seals on this album belong to Xiang Li, one of the wives of the famous Ming collector Xiang Yuanbian. Qiu Ying lived with the Xiangs toward the end of his life; Miss Qiu might have lived there then as well, and after her father's death maintained a close relationship with the family. Her album is inspired by a woodblock print series based on paintings by Ding Yunpeng (1547-1628) that were in turn based on a famous handscroll depicting thirty-two manifestations of Guanyin by Li Gonglin (1049-1106) that was owned by Xiang Yuanbian. These pages come from an album illustrating twenty-four transformations of Guanyin, the bodhisattva of compassion. Guanyin is considered a guardian of women, and in Ming-dynasty China women formed various Guanyin recitation groups to express their devotion to this bodhisattva.
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