Acquired in Japan in the 1980s.

Following the political shift to the south in the Song dynasty, Buddhist imagery took on a more naturalistic treatment and exuded an element of tranquility – qualities encapsulated in the present fig♌ure.

Since the Song dynasty, depictions of seated Guanyin have more commonly featured the "royal ease" posture (lalitāsana), while representations in full lotus posture are relatively rare. Compare a similar polychrome wood seated figure of Guanyin, preserved in the Palace Museum, Beijing,  no. xin 00058305.

來源

得於日本，1980年代

此尊觀世音菩薩結跏趺坐，施禪定印，儀態寂靜莊嚴。衣袍垂覆蓮台，疏密有致，瓔珞披挂胸腹，🌜珠粒分明；頂髻高梳，佩戴寶冠，鬢髮於耳後束起，分作三綹披於肩膊。隨宋代（960-1279年）格物致知思潮發展，造像風格更趨自然寫實，政治中心南移後，造像氣質更見溫雅安恬，恰如此尊。

兩宋🍰以來，坐姿觀世音多呈自在坐形象，跏趺坐者較罕。可比一木雕彩繪觀世音菩薩坐像，坐姿、手印，乃至開臉容貌、衣紋垂墜，皆與此尊相類，藏北京故宮博物院，藏品編號新00058ܫ305。