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Lot Essay
This inlaid lacquered seated figure of Guanyin is depicted in a relaxed pose, known as the rājalīlāsana, with the right knee raised and the right arm resting on it, while the left leg is bent horizontally, with the left hand gently placed on the base. The figure’s posture exudes ease, and the facial expression is serene and refined. According to Wang Shixiang, this figure was originally entirely gilded with gold foil, except for the hair, which was painted with azurite. The gold foil was applied without an additional layer of lacquer, making it prone to be fugitive. Traces of gold remain visible in the folds of the clothing and at the base. The present figure has been published multiple times in Wang Shixiang’s publications, making it exceptionally rare.
The back of the present figure is inscribed with a seal mark reading Kuisheng within a rectangle. Lu Kuisheng (1779–1850) was born into a family of master lacquer craftsmen in Yangzhou. His grandfather, Lu Yingzhi (active around 1717) was a renowned lacquer artisan. He is recorded to have excelled in making utensils of all shapes and his carvings were praised for their fineness. The Hualin xinyong, compiled by the eminent critique Chen Wenshu (1771-1843), mentions the Lu family as one of Yangzhou’s most prominent producers of lacquerware and commends Lu Kuisheng as one whose work was of exceedingly high quality. It was known that he not only inherited his grandfather’s technical and artistic skills, but elevated lacquerware production to new heights.
Lacquer figures with Lu Kuisheng’s signature are exceedingly rare. Wang Shixiang and Yuan Quanyou, in their research on Lu Kuisheng, noted that his figure carvings uniquely showcase his exceptional craftsmanship. Figures like the present one, made of wood covered in multiple thin layers of lacquer, were created using the jiazhu technique. This method involves applying layers of cloth soaked in lacquer to a wooden core to enhance three-dimensionality, followed by colouring and gilding after drying. The jiazhu technique emerged in China during the 2nd century with the introduction of Buddhism and was used to create Buddhist statues. Historical records mention the master sculptor Dai Kui (d. 395 CE), who was renowned for his skill in crafting lacquer Buddhist figures. The jiazhu technique is recognized as highly challenging, time-consuming, and costly, historically reserved for the most skilled artisans in China.
The back of the present figure is inscribed with a seal mark reading Kuisheng within a rectangle. Lu Kuisheng (1779–1850) was born into a family of master lacquer craftsmen in Yangzhou. His grandfather, Lu Yingzhi (active around 1717) was a renowned lacquer artisan. He is recorded to have excelled in making utensils of all shapes and his carvings were praised for their fineness. The Hualin xinyong, compiled by the eminent critique Chen Wenshu (1771-1843), mentions the Lu family as one of Yangzhou’s most prominent producers of lacquerware and commends Lu Kuisheng as one whose work was of exceedingly high quality. It was known that he not only inherited his grandfather’s technical and artistic skills, but elevated lacquerware production to new heights.
Lacquer figures with Lu Kuisheng’s signature are exceedingly rare. Wang Shixiang and Yuan Quanyou, in their research on Lu Kuisheng, noted that his figure carvings uniquely showcase his exceptional craftsmanship. Figures like the present one, made of wood covered in multiple thin layers of lacquer, were created using the jiazhu technique. This method involves applying layers of cloth soaked in lacquer to a wooden core to enhance three-dimensionality, followed by colouring and gilding after drying. The jiazhu technique emerged in China during the 2nd century with the introduction of Buddhism and was used to create Buddhist statues. Historical records mention the master sculptor Dai Kui (d. 395 CE), who was renowned for his skill in crafting lacquer Buddhist figures. The jiazhu technique is recognized as highly challenging, time-consuming, and costly, historically reserved for the most skilled artisans in China.