Ancestor Figure

Ancestor figures were the visual component of ancestor worship which reflected the fundamental Confucian precepts of reverence for one’s ancestors and commitment to filial piety. During the Qing dynasty the statues were often carved from boxwood, a commonly found soft wood. They functioned like ancestor portraits made of paper or silk and made to capture the likeness and spirit of the deceased. Although there is not much written about carved figures, analyzing painted portraits helps provide insight on the form, use, and cultural significance of these images. Stuart discusses (p. 82) ancestral images that he states are portrayed like deities and rulers as individuals meant to instill awe and devotion. The ancestor sits in an iconic pose removed from all worldly activity, encased in stillness with actions confined to rigid almost lifeless gestures such as grasping an accessory or tugging on his sleeves or holding up his belt. The face is the main focus, and although depicted realistically, ancestors’ facial expressions are remarkably similar and idealized: dignified and detached with a “somber forward gaze” and an inexpressive mouth with no indication of the sitter’s emotions, tastes, or personality. Rather, the portrayal emphasizes clothing, colors, and decorations that reveal the ancestor’s social status, the main function of the image and the family’s goal in commissioning it. Unlike portraits, which were only displayed on special occasions such as births, deaths, anniversaries and Chinese New Year, ancestor figures were placed on home altars and venerated daily with food offerings, prayers, flowers and incense. These images appeared along with figures of Taoist, Buddhist, and Popular Religion deities, as well as house gods, heroes, and legends. All were consecrated during an eye-opening ceremony performed by a monk or priest required before being placed on the altar.

Sources
Jan Stuart and Evelyn Rawaski, Worshiping the Ancestors: Chinese Commemorative Portraits, Palo Alto, Stanford University Press, 2001.