HIGHLIGHT

The Dehua kiln white porcelain seated figure of Guanyin embodies not only artistic value but also a distinctive historical background and cultural significance. It is said that the piece was presented by Madam Chen Bijun, wife of Wang Jingwei, to Dr. Toshio Kurokawa (1897–1988), President of the Japan Medical Association and Doctor of Medicine, in gratitude for saving Wang Jingwei’s life when he fell into critical condition. The storage box for the figure bears a label reading “Respectfully presented to Dr. Kurokawa – from Chen Bijun.” Furthermore, although Lot 179, a Dehua kiln bucket, does not come with an inscribed box, it too is said to have belonged to Dr. Kurokawa’s former collection.

This Guanyin figure may be regarded as a cultural symbol of both China and Japan during a specific historical period, bearing both historical value and symbolic significance. Wang Zhaoming (Guangxu 9, 1883 – Republic of China 33, 1944), whose courtesy name was Jixin and literary name Jingwei, is commonly referred to in the Chinese-speaking world as “Wang Jingwei.” In March 1940, he established a Japanese puppet regime in Nanjing, which made him a complex and controversial political figure in modern Sino-Japanese history. While his political career remains contentious, this collection, as part of Dr. Kurokawa’s personal holdings, offers a unique perspective for understanding the intricacies of cultural exchange between China and Japan.

Originating in Fujian province, China, the Dehua kilns became renowned for their white porcelain from the Song dynasty onward and thrived particularly during the Ming and Qing dynasties. Dehua white porcelain, celebrated for the purity of its glaze, delicate texture, and jade-like luster, came to be known as the “ivory porcelain of the East.” Among the kiln’s most highly valued works are Buddhist figures, especially Guanyin statues, prized for their exquisite craftsmanship and spiritual resonance.

This particular Guanyin figure is finely carved, with a serene and compassionate expression, eyes closed in quiet benevolence. Its form is dignified, with harmonious proportions, a warm porcelain texture, and a smooth, lustrous glaze—embodying both the solemnity and elegance central to the aesthetics of the East.