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When ancestral images are taken out of context they are very difficult to identify so we describe them in generic terms as a Chinese Officials or Taoist Officials. This carving may represent the noted historical figure the principal regent Dorgon of the first Qing Emperor Shunzhi who ruled from 1643-1650 as a”quasi” emperor based on…
Taoist priest wearing a winged hat with a taotie warning against excess, and hands in the Sword Gesture used to cast out evil and offer blessings. Often on horses, priests were models of morality reflecting the Way of the Tao stressing harmony and oneness with nature.
This elegant antique heddle-pulley carved from a single piece of Burmese teak is topped by a hamsa, a goose-like bird and a sacred Buddhist symbol of wisdom. Auspicious symbolic animal images are believed protect the weaver, assure quality weaving, and pleases the gods and spirits. It is wonderfully weathered from time and use with minor losses with a fine patina. Mounted on a black wood base, this heddle pulley pairs well with item number 11298A.
Antique horseshoe shaped Tuareg “King” manilla, magnificent metalwork, 10 faceted flat finial ends with traditional etched and hammered geometric designs, excellent condition, fine patina.
Finely fashioned Tuareg slim circular-shaped manilla bracelet/anklet, hand incised striated decorations, and faceted rounded beads at the open hoof-shaped terminals ends.
Shiwan 2 part chopsticks holder with top holes for hanging and bottom ones for drainage. Chopsticks were wedding gifts from mothers to daughters with auspicious wishes: sons as soon as possible, blessing for prosperity, happiness and fertility, life-giving rain and abundance.
Wall pockets are used to hold chopsticks and flowers to bring good fortune. This Shiwan pocket has frog and a lotus that together symbolize nurturing energy and transformation. Great cozy accessory for feng shui and a wonderful wedding gift.
This 19th-century miniature wood figure is a finely and whimsically carved portly seated merchant. He is depicted as a Laowai or “old foreigner” with a westernized face and hat and oversized hands placed on his knees. Seated on a platform base, he wears garments reflective of the Chinese culture at this time but wears a hat that is clearly not of Chinese origin. Other indications this charming figure is a foreigner include the roundness of his face, western facial features and oversized hands.
Provincial carving of Zhenwu the Perfected Warrior, one of the most popular Taoist deities in the Ming/Qing dynasties, iconically shown standing on a snake and turtle, symbolizing those over whom he presides.
Antique carving of a Devi (Sanskrit: divine) probably a child’s toy and and protective item. Tikka on forehead, ample breasts – a wish for fertility with a shiny patina from use.
This Kitchen God and his Wife is posed as streamlined virtual mirror-images and fashioned with a general quality relying on paint rather than deep carving for details. They sit on backless chairs on a plinth, with simplified gold officials’ robes with long color sashes, and well-carved black and gilt head gear. The wife’s face is smooth, generalized and the male face has a more deeply carved surface and painted highlights.
Porcelain cat teapot removable head, sinuous tail handle. Beautifully hand-painted whimsical ribbon-like blue collar, dangling ornamental bow, and the black accents. Likely Qing Dynasty circa 1900-1920.
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