Guanyin Lamp

Edward I. Farmer was a prominent New York dealer in imported Chinese art. His gallery specialized in antiques, as well as hybrid objects such as this modern light fixture, which serves as a mount for an antique jade sculpture. The lamp was originally completed by a custom-made silk shade, trimmed with fringe, since lost. George Booth originally placed the lamp in the Still Room in Cranbrook House, a space set aside for him to rest and enjoy a quiet retreat from work. Later, the lamp was relocated to the family living room.

The jade figure at the lamp’s base represents Guanyin, a divinity who is widely venerated in Buddhism, Taoism, and Chinese folk religion. Guanyin appears in the Lotus Sutra as a Boddhisatva of indeterminate gender, but in Chinese art from the fifth century onward, Guanyin is almost invariably represented as female deity. She is identified as the goddess of mercy, forgiveness, and compassion, capable of conferring health, protection, and good fortune on those in need. The lotus flower that this figure of Guanyin holds symbolizes purity.

The practice of combining Chinese porcelains and jades with Western mounts dates to the sixteenth century, when Chinese art objects were still extremely rare in Europe. Adding a finely wrought bronze, silver, or gold mount to a Chinese vase or figure signaled its special value to its owners. The fusion of European and Chinese craftsmanship also helped to integrate such objects into conventional European rooms. A similar effect is in play here, as the amalgamation of the jade figure with a lighting fixture ensures that it is always well lit, allowing its fine carving, rich color, and translucent qualities to appear to their best advantage.

Mariam Hale
2023-2025 Collections Fellow
Cranbrook Center for Collections and Research
January 2024