The Avalokitesvara bodhisattva figure pictured immediately above, most likely from the Sui dynasty, c. 580 CE, is a beautifully preserved piece willed with intimate details of perfection. The supple tilt of the slight torso is a clear indication of the feminizing direction taken by later Guanyin pieces. The complex folds of the garment are clear but flattened to the body, without appearing to be a separate. The belt and necklace jewelry are extremely detailed, without being overwhelming. And the calm facial expression, an almost-smile, adds a sense of absolute confidence. Here we are faced with a being of the world, enveloped by treasure and wealth, who retains an inner knowledge of something more.
The second piece featured above, a Maitreya (Buddha of the Future) made in the same period (CE 560) but in another state, the Northern Wei, shows sharply different styling. Once again the clothing is flat against the body, simply following the body's simple curves. But this deity wears no expensive jewelry; the belt, hat and jacket probably mirror the attire of the literati of the period. Most interestingly, the right foot, folded in lotus in the figure's lap, is flat and lacks its own sculptural space. The foot is another piece of the garment, apparently.
The extant hand, of course, is separate, but the palm is virtually flat.
It is in the neck and face that the piece's beauty resides. the slender, long neck supports a face of surprising individuality. Here is a deity with character and attitude, almost inviting each of us to join him in the game of Buddhist cultivation. One is tempted to ask him questions about the future. There is something comforting and familiar in this look, the sense that you've seen this look somewhere, you know it. Undoubtedly, this is an effect no artist can create consciously.
