Antique Rare Consecrated Wood Zhenwu, The Taoist “Perfected Warrior” China (19066B)

Description

Zhenwu (aka Xuanwu, Wuandi and Zhenwudadi) is one of the most revered Chinese Taoist figures, venerated for his ability to heal as well as to protect his country. Emperor.Zhenwu is known by many names and titles:  Emperor of the Dark Heaven,  Northern Emperor and the most commonly True Warrior and  Perfected Warrior. One of the most popular Taoist deities during the Ming and Qing dynasties, he was depicted in all sizes – large imperial images and for small personal worship on home altars or shrines. During imperial dynastic times, he was considered a patron of soldiers and a protector of national security. Zhenwu is still venerated by Taoist, Buddhist and Popular Religion devotees.

Provincial artisans took liberties in their iconographic representations with more humble and relatable images. He is traditionally shown  dressed in loose-fitting scholar’s robes that drape over a prominent, rounded abdomen. At the lower base, his associated animal —the cosmic Tortoise and entwined Serpent—emerge from a hollowed-out grotto, symbolizing those over whom he presided including “…both celestial officers under his command [and] former demons that were conquered by him.” (Stevens, p.19.)  In Taoist cosmology, these creatures represent the elements of yin and yang, water and fire, and their pairing symbolizes ultimate universal balance.

His long black hair covers the carved cavity, indicating the image was consecrated. Unlike standard Chinese deities who wear formal court slippers, Zhenwu is famously depicted barefoot with long, unpinned hair flowing down his back which reflects his 42 years of ascetic meditation and spiritual training in the Wudang Mountains. The face is carved with well-defined features including the eyes and lips set in a slight smile. The facial features  are softer and more meditative than the highly rigid, stylized armor depictions  later 19th-century confirming it is 18th-century (Mid-Qing Dynasty) . Some of the original gilt and red can be detected under the black robes and remaining lacquer. Chinese lacquer naturally darkens over time, especially when an image has been exposed to burning incense and candles.

The back is designed for easy handling and transporting. There is a crack there, paint losses, and old minor insect damage expected for wood pieces of this age and use.  Much of the lacquer and paint has been removed and the lacquer has naturally darkens over time.  Otherwise it is a rare and an interesting piece with a wonderful patina in very good condition.

Click here for the Blog Consecrating Wooden Images to Imbue Them with A Life Force

Sources:

Dr. Gabi Greve, “Tsurukame – Crane, Tortoise and Snake,” Daruma Museum,

Jeremy Roberts, Chinese Mythology A to Z, New York, Facts on File, 2004.

Dale Saunders, Mudra: A Study of Symbolic Gestures in Japanese Buddhist Sculpture, Princeton, Princeton University Press, 1960

Brock Silvers, The Taoist Manual: An Illustrated Guide, Applying Taoism to Daily Life, Honolulu, Sacred Mountain Press, 2005.

Keith G. Stevens, Images of Asia Chinese Mythological Gods, Oxford University Press, New York, 2001.

The Art Institute of Chicago, Taoism and the Arts of China: The Taoist Renaissance, 2000.