Willow-Branch Bodhisattva Avalokiteshvara (Kwanseûm Posal) Seated In A Paradise Garden
© President and Fellows of Harvard College
Identification and Creation
Object Number
1943.57.12
Title
Willow-Branch Bodhisattva Avalokiteshvara (Kwanseûm Posal) Seated in a Paradise Garden
Other Titles
Alternate Title: Gwanse'eum Bosal
Classification
Paintings
Work Type
painting, hanging scroll
Date
14th century
Places
Creation Place: East Asia, Korea
Period
Koryô dynasty, 918-1392
Culture
Korean
Physical Descriptions
Medium
Hanging scroll; ink, color, and gold pigment on silk
Dimensions
painting proper: H. 159.6 x W. 82.5 cm (62 13/16 x 32 1/2 in.)
mounting, including cord and roller ends: H. 274.3 x W. 114.3 cm (108 x 45 in.)
Provenance
Grenville L. Winthrop, New York (by 1937-1943), bequest; to Fogg Art Museum, 1943.
Acquisition and Rights
Credit Line
Harvard Art Museums/Arthur M. Sackler Museum, Bequest of Grenville L. Winthrop
Accession Year
1943
Object Number
1943.57.12
Division
Asian and Mediterranean Art
Contact
am_asianmediterranean@harvard.edu
Descriptions

Label Text: 32Q: 2740 Buddhist II , written 2014
This work, one of the largest extant paintings from the Koryŏ dynasty (918–1392), shows the encounter between Sudhana, a pious youth, and Avalokiteshvara, the Bodhisattva of Compassion. The bamboo and fantastic rocks — rendered in gold, azurite, and malachite — evoke the setting on the island of Potalaka, Avalokiteshvara’s semi-divine paradisiacal home, which East Asian Buddhists identified with specific islands off the coasts of China, Korea, and Japan. This manifestation of the deity is termed the Willow-Branch Avalokiteshvara because of the branch in the vase to the bodhisattva’s left. The willow (which contains salicin, a chemical compound related to aspirin) was considered by Buddhists to be efficacious in purification and healing; here, it symbolizes the bodhisattva’s vow to cure illness. While this deity was worshipped throughout East Asia, the Koryŏ origins of this work are revealed particularly in its depiction of multiple layers of sumptuous, opaque robes veiled by a diaphanous silk shroud embroidered with gold roundels.

Publication History

James Cuno, Harvard's Art Museums: 100 Years of Collecting, Harvard University Art Museums/Harry N. Abrams, Inc. (Cambridge, MA, 1996), pp. 70-71

Marilyn Stokstad and Robert D. Mowry, Art History, Pearson Prentice Hall (Upper Saddle River, NJ, 2008), p. 370, fig. 10-30

Stephan Wolohojian, ed., Harvard Art Museum/ Handbook, Harvard Art Museum (Cambridge, MA, 2008), p. 49

Dorinda Neave, Lara Blanchard, and Marika Sardar, Asian Art, Pearson Education, Inc. (Boston, MA, 2015), p. 252, ill. 11-12

Exhibition History

The Arts of Korea, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 07/11/1992 - 01/31/1993

Masterworks of East Asian Painting, Harvard University Art Museums, Arthur M. Sackler Museum, Cambridge, 11/03/1995 - 06/09/1996

32Q: 2740 Buddhist II, Harvard Art Museums, 11/01/2014 - 05/21/2015

Subjects and Contexts

Collection Highlights

Google Art Project

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at am_asianmediterranean@harvard.edu