Her right arm with an open palm rests on her correct knee even though her left arm follows the pattern of her left leg, angling down to touch the bench.
As described by Helen Gardner (217), the type from the goddess in this era became full and rounding with richly elegant decorative details. The pose is 1 of elegant and dignified grace, beneficial compassion, and enormous gentleness of spirit. The eyes in the statue look close as although in contemplation plus a faint yet noticeable smile animates her composed features.
The second sculpture, found within the Sackler Museum, can also be wood with poly
hrome. The pose is incredibly similar to that of the Fuller sculpture though in this rendition Guanyin's left leg is tucked beneath her as she sits on a flat rather than an increased stone surface. Like the Fuller sculpture, the Sackler Guanyin depicts a much less formal rendition than appeared in earlier eras. Her draperies are rich and flowing, but are far more relaxed and a smaller amount stylized than individuals inside the Fuller example,
Washington.edu. "Song Dynasty (mid-10th-late 13th century CE)." Retrieved November 18, 2008, from http://depts.washington.edu/silkroad/exhibit/song/guanyin.html.
The folds of the Sackler's Guanyin's garments form a rhythmic pattern similar to that observed inside Fuller sculpture. However, there's a higher
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