Dehua White Porcelain Guanyin Bodhisattva Figurine
Asian Art & Antiquities - Ceramics

Dehua White Porcelain Guanyin Bodhisattva Figurine

This is a white-glazed porcelain figurine of Guanyin, the Bodhisattva of Compassion, depicted in a standing posture. The statue is crafted in the 'Blanc de Chine' style, characteristic of Dehua porcelain, known for its milky white or ivory-toned glaze. The figure stands atop an integrated lotus-themed base, featuring intricate modeling of lotus blossoms and leaves. Guanyin is rendered with traditional serene facial features, a high bun hairstyle (ushnisha), and flowing robes with soft, rhythmic drapes. One hand holds a fly-whisk or willow branch, a common attribute symbolic of wiping away spiritual obstacles. The construction shows fine detail in the fingers and facial expression, indicative of hand-finishing after molding. Regarding condition, the glaze appears lustrous with no immediate signs of major structural cracking, though light surface dust is present. The style is reminiscent of 20th-century reproductions of Qing dynasty classics. There are no visible maker's marks or signatures from this angle, but the quality of the drapery suggests skilled craftsmanship. The overall height appears to be approximately 10 to 12 inches.

Estimated Value

$400 - $600

Basic Information

Category

Asian Art & Antiquities - Ceramics

Appraised On

March 24, 2026

Estimated Value

$400 - $600

Item Description

This is a white-glazed porcelain figurine of Guanyin, the Bodhisattva of Compassion, depicted in a standing posture. The statue is crafted in the 'Blanc de Chine' style, characteristic of Dehua porcelain, known for its milky white or ivory-toned glaze. The figure stands atop an integrated lotus-themed base, featuring intricate modeling of lotus blossoms and leaves. Guanyin is rendered with traditional serene facial features, a high bun hairstyle (ushnisha), and flowing robes with soft, rhythmic drapes. One hand holds a fly-whisk or willow branch, a common attribute symbolic of wiping away spiritual obstacles. The construction shows fine detail in the fingers and facial expression, indicative of hand-finishing after molding. Regarding condition, the glaze appears lustrous with no immediate signs of major structural cracking, though light surface dust is present. The style is reminiscent of 20th-century reproductions of Qing dynasty classics. There are no visible maker's marks or signatures from this angle, but the quality of the drapery suggests skilled craftsmanship. The overall height appears to be approximately 10 to 12 inches.

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