Ming Lacquered Carved Provincial Spiritual or Protective Figure, Lucite Base, China (3188)

Description

Popular Folk Religion traditions during the Ming Dynasty were wide spread in China’s rural regions especially in South China in provincial workshops of Fujian or Guangdong provinces where this originated. Unlike rigid artistic rules of the imperial court, these non conforming folk art images appealed  to a local and not necessarily sophisticated audiences.

This young figure is difficult to identify without arms to verify his identity. He is dressed in a short, knee-length paneled wrap-around skirt tied at the waist with a knotted sash. It is postulated that he one of three representations: the Buddha as a baby or a Taoist or Folk Religion attendant devotional servant. On Chinese home altars primary deities were often flanked by youthful acolytes or attendants. They were often depicted as infants with focused, rounded expressions to emphasize unquestioned obedience and purity, and dressed in humble attire. Or, he could be  a youthful a ritualistic servant of a wealth or protective deity. In regional and rural folk traditions, some protective spirits or localized earth/ancestor guardians were represented as plump children to symbolize familial abundance.

This unique image carved from one dense piece of wood, layered with a heavy, protective coating of dark brown and black lacquer. Displays remnants of original red pigments and faint traces of original gold leaf gilding is in relatively good condition considering its age, use, and the deterioration during China’s modernization. There are remains of the gilt that originally covered his entire body (note the back and legs), red pigment on the base with expected cracks, and lacquer chips and minor losses in addition to its missing upper limbs. As seen from the cavity in the back, the piece has been consecrated in an “eye opening ceremony.” It is counted on a custom Lucite base for stability and provide a clean modern presentation.

AI Market Valuation Summary

AI rates this piece as  Highly Collectible Folk Art  for the following reasons:

It’s authenticity as Ming/Qing is verified in the use of an initial red polychrome lacquer base under a heavy, aged dark outer lacquer layer, technique used in this period. Its consecration cavity is proof of historic, active temple or domestic worship