Many of our antique items are mounted on frosted Acrylic bases. Also known as Plexiglass, Acrylic is a transparent plastic material similar to glass that is much lighter and stronger. These modern, uniquely fashioned stands are tailored to each piece by cutting the material to an optimal size and hand sanding it. This more labor intensive process results in a modern opaque acrylic in a frosted white color making each piece extremely well suited for display in modern contemporary interiors.
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Leigong, (Lei Gong Leikung, Leishen), is the mythological Taoist and folk religion protective “Thunder God) The Chinese character Lei (雷) means “thunder.” An official of the Jade Emperor’s imperial court, Leigong was given responsibility for watching for injustices on Earth. He was ordered to punish earthly beings and wicked spirits who commit secret crimes or…
Statues of attendants often appear as a pair looking inward and flanking a deity, unless they are very important ones and look straight ahead. They may carry a range of offerings. This antique Chinese woodcarving appears to be a Taoist image likely placed on a home altar along with deities, house gods and ancestors to…
Antique Chinese puppets were often made in several parts with removable heads. This antique carved head of a beauty has delicately painted features and an animal hair braided down the back. Since there is an area without hair towards the back, she likely originally wore a hat or headdress. A hole on top probably accommodated strings.
This beautifully carved God of Wealth (Caishen) is portrayed as are all Taoist deities as an authoritative figure, right hand firmly placed on his knee and left hand holding a tael. His outer robe has decorative borders down the front and carved coins at the shoulders, stomach, and an undergarment is gathered with a floral designed tasseled cord. His well-defined face with incised wrinkles and long beard has a benevolent expression with rounded cheeks and an open mouth, topped by an elaborate official’s hat with ribbon-like extensions. Very fittingly, it is painted with red and gold both associated with wealth.
Placed on a lotus throne that is used only for Buddhas or bodhisattvas, this white clad Guanyin sits in lalitsana, the position of royal ease symbolizing her regal status as presider over both the material the spiritual worlds. Her hands are in karana mudra, the Taoist gesture to expel evil, remove problems and rid sickness or other negativities rarely used for Guanyin. Mounted on an acrylilc.
Guanyin’s elegance, compassion and serenity are emphasized in this graceful antique provincial carving. Portrayed in meditation with flowing robes on a majestic three-tiered lotus throne she was designed for personal veneration in a home setting.
This delicately detailed Guanyin statue in meditation on a two-tiered backless throne has flowing braids, simple necklace, and voluminous robes indicating her regal status, while her pendulous ears, compassionate downcast eyes, serene contemplative expression, and calm smile symbolize her enlightened status. The image’s distinguishing feature is its deeply carved three-part diadem (crown) centered with a carved Amitabha Buddha on lotus throne surrounded by an aureole.
Guanyin is portrayed in this gilt and lacquer carving seated on a lotus with her hands in the lap in meditation mudra atop a decorative footed stand in elegantly draped robes. In this regal form, she wears a 5-lobe crown with a cross hatch design in the center while her hair rests atop her head in a bun encircled within the crown.
Statues like this vibrant Guanyin, especially popular during the Qing dynasty, epitomizes the best of folk art spiritual traditions of provincial artisans who replaced imperial constructs with provincial depictions that combined Buddhist, Taoist and Popular Religion traditions. Her high crown is centered with Amitabha Buddha surrounded by swirling florals, the indented urna (third eye) on her forehead would have held a cut glass. Humble, charming and approachable portrayals of Guanyin like this were placed in homes and small community temples.
This white hooded Nanhai Guanyin sits in her Cave o Mount Putuo below an arch of openwork draped moss and barbed rocks, a vial and parrot at her side, holding scrolls that represent the sutras with which she is associated. She sits in modified lalitsana atop an open lotus symbolizing purity and enlightenment surrounded by 2 closed lotuses symbolizing the potential for enlightenment.This rare provincial image was used for placement on a home altar.
In this elegant and vibrant carving Guanyin sits in meditation. her beautiful, serene face elegantly carved in contemplation withbud-shaped lips softly set in a welcoming and benign sweet smile wearing a five-lobed crown. She sits on an open lotus with a vertical post at her sides; her sacred vial on her right and a parrot on the left. Antique carved i Guanyin statues with her symbols in this condition are quite wonderful and rare and impart a feeling of serenity to the environment around them.
This ancestor statue emphasizes his status as an official. official’s pose holding us his belt of office, official’s hat and boots, worn only by those who could afford them. high on his forehead which also represents his officialdom, as the word “hat” (guan) is a homophone of the word “official.” The inscriptions on the back of the chair which are too faded to read indicate it was consecrated and probably were a dedication from the family who commissioned it to placed on the home altar.
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