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Guanyin sits on an elaborate lotus throne held up by 9 lotuses, 8 with long stem and 1 with flat leaves. Only enlightened beings sit on a lotus, the Buddhist symbol of purity and the potential for all beings to achieve enlightenment and a 5-lobed crown reflecting her stature as Buddhist royalty,
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.
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.
This provincial Guanyin made for a home altar sits in anjali mudra. Portrayed as a humble, approachable figure, she wears a 5-lobed diadem, hair in a chignon, braids draping down her shoulders, and a modest robe. She sits on a unique footed lotus throne of stacked lotuses, the Buddhist symbol of purity, flowering of the mind, and freedom from the world’s darkness.
The delicately carved antique Guanyin sits in meditation. Masterful yet simple, this provincial image brings quiet energy to its surroundings and imparts a sense of serenity and peace.
This vibrant image represents the “Heavenly Empress” Mazu wearing a red-tiered outer robe topped with a black scalloped collar bordered with gold and carved in graceful folds. Three ornamental flowers painted on her stomach might reflect the Popular Religion myth that when Mazu’s mother was pregnant, she prayed for a daughter as she already had six sons. In a dream Guanyin gave her a flower blossom to wear, and the next day Mazu was born.
This home devotional image, finely carved in the round, represents Mazu, the most revered Taoist female deity in coastal areas in mainland China, Taiwan and Vietnam. She sits in a traditional deity pose, hands covered by a ritual cloth with a space to hold a hu tablet on a plain armless high back chair. She is a provincial matronly figure, eyes calmly cast down and dressed in humble attire with characteristically small feet, a hanging red sash, and a modest hat with a flat phoenix.
As a syncretic Taoist deity, the Queen Mother of the West has a huge cult following among Taoist, Buddhist and folk religion devotees revered for her powers to control life and death and to determine the life span of all living beings. Irvin calls her one of the Great Chinese Goddesses who are all imperially…
Given the auspicious images on this finely crafted red and gilt jewelry box, it was probably a wedding gift for a fortunate couple as a wish for fertility, harmony and many and sons. The doors have a carved lotus symbolizing beauty and purity and the top has 5 bats surrounding a longevity roundel. When depicted on a box, it means as “May you have a harmonious marriage with the Five Blessings” (longevity, health, wealth, virtue and a peaceful death) and signifies completeness, togetherness and harmony.
This fine pair of the Kitchen God and his wife are mirror-images of each other seated on backless chairs with multi-sided pedestals and reflect the reverence and solemnity of their responsibility to live above the stove and protect the home. The original lacquer has darkened naturally over time and from exposure to candle and incense smoke leaving a soft patina. The cavity on the male has its original covering while the one on the female is missing, exposing contents inside – a string tied around the script placed by a monk when it was consecrated. Kitchen Gods radiate warmth, especially when placed near the stove and make unique house warming or wedding gifts and add positive chi to any household.
This husband and wife Kitchen Gods are near mirror images with similar layered gold officials’ robes clasped hands covered in ritual cloth. They portray house gods whose future of families are in their hands. They are in excellent condition with fine patinas and both have been consecrated with the consecration script remaining in the wife’s cavity but not in the male’s cavity.
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