The seated Water-Moon Guanyin (Avalokiteśvara, 水月觀音), produced during China’s Ming dynasty, compellingly conveys the compassionate essence of the bodhisattva despite its monumental scale. The meticulous carving of the wooden medium, together with faint yet evocative traces of surviving polychromy, enhances the serene and benevolent presence traditionally associated with Avalokiteśvara. As articulated in the “Universal Gateway Chapter of Avalokiteśvara Bodhisattva” (觀世音菩薩普門品, Guanshiyin Pusa Pumen pin) of the 『Lotus Sūtra』 (法華經, Fahua jing), Avalokiteśvara embodies great mercy and compassion, actively responding to the suffering of sentient beings and offering salvation in the present world. This soteriological and wish-fulfilling dimension of the bodhisattva underpinned Avalokiteśvara’s widespread popularity across East Asia, including China and the Korean Peninsula.

According to the 『Avataṃsaka Sūtra』 (華嚴經, Huayan jing), Avalokiteśvara resides on Mount Potalaka (補陀落山), a sacred landscape characterized by flowing waters and the profusion of luminous, fragrant flowers. The Water-Moon Guanyin iconography depicts the bodhisattva seated upon fantastically shaped rocks of Mount Potalaka, gazing downward at the water below, the moon’s reflection upon its surface, and the worshipping Sudhana (善財童子, Shancai tongzi). This sculpture offers a particularly eloquent visualization of devotional beliefs surrounding Avalokiteśvara’s abode on Mount Potalaka.

Monumental wooden Buddhist sculptures such as the Water-Moon Guanyin in the collection of Barakat Seoul were predominantly produced in northern China from the tenth century onward. The lalitāsana (遊戱坐, royal ease posture)—in which the left hand rests upon a rocky pedestal, the right hand is placed on a bent knee, and one leg descends freely below the base—is a defining pose of Water-Moon Guanyin and recurs frequently in sculptural and pictorial representations of this iconography. The lotus supporting the raised left foot alludes to the presence of flowing water beneath the rocky seat, effectively transforming the sculptural space into an evocation of the natural landscape.

The relaxed posture, full and benevolent facial features, half-closed eyes, and elongated earlobes collectively articulate the bodhisattva’s tranquil and compassionate disposition. The crown adorned with a Buddha (化佛) functions as a key iconographic marker, unequivocally identifying the figure as Avalokiteśvara. Furthermore, the tall crown ornament, high topknot, and cascading locks of hair draping over the shoulders exemplify stylistic conventions characteristic of Ming-dynasty representations of the bodhisattva. The beaded jeweled necklace adorning the chest, the flowing celestial scarves, and the delicately rendered garment folds and knots further attest to the exceptional level of artistic sophistication achieved in Ming-period Buddhist sculpture.