Buddhists have used images of enlightened beings including Buddhas, Guanyin, Bodhisattvas, Lohans, and monks for nearly two millennia to show devotees how Truth can be found within oneself through meditation and spiritual training. Statues of the Buddha and other enlightened beings are placed in temples, monasteries or home shrines as a reminder of the spiritual potential inherent within all of us to awaken to the Truth as the Buddha, a fellow human being, did. When one pays reverence to Buddhist images, they are not worshipping the image, rather the image reminds them of the great compassion of the Enlightened Ones who have taught them the way to liberation.
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This rare carving of the infant Buddha with well defined features is clearly a provincial rendering that uniquely departs from traditional renderings. He holds a monk’s begging bowl as he points to the heavens and he stands on a lion’s head, as he is the lion of the Shakya clan. Given its small size, it was probably displayed on a home altar.
This rare, sensitive and beautifully carved image probably depicts Guanyin the Bodhisattva of Compassion and Mercy holding a young child’s hand glancing down with compassion and tenderness while he looks up at her for assurance and protection. This unique provincial Popular Religion carving depicts her as humble, engaging and modestly clad with a serene softness. It is similar to but different from Songzi Guanyin, the “Child-Giving Guanyin to whom couples pray to become fertile and to bear a son.
Masterfully carved, this Guanyin has gentle curves thrusting her weight in opposing directions in a lyrical posture in lalitsana. Her refined right hand with gentle elongated fingers rests on her right knee and her left extends across her body to hold a scroll, symbolizing the Lotus Sutra, one of the Buddhist scriptures where her deeds and powers are enumerated or the Dharma which she constantly reads. Portrayed as a mature compassionate woman in serene repose, her delicate face has half-closed almond eyes, pursed lips, and full cheeks. Her hair is atop her head in a chignon and she wears a loose robe open at the chest and tied at the waist. The deeply carved folds of the robe and the patterns on the rocky outcrop on which she sits exemplify the artisan’s superior craftsmanship.
This lacquer woodcarving is a Guanyin manifestation called “white hooded,” “white clad” or “white robed” Guanyin derived from the many paintings where she is clad in white. Although wood carvings usually portray her clothed in red, this finely carved version is covered in a lacquer coat that darkens naturally over time and darkens even more when honored on a home altar with daily prayers and offerings of smoky candles and burning incense.
This remarkable and enchanting figurine is Guanyin on her mythical mount, the Hǒu the guardian master of the universe and model for righteousness and morality who symbolizes bringing forth peace and prosperity.The round orb in its mouth representing a pearl can be rubbed for good luck. It is one of our most unique and favorite Buddhist statues, mounted on a frosted acrylic stand.
Statues like this Guanyin in the Mahayana Pure Land Buddhist tradition were especially popular during the Ming and Qing dynasties. This carving 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. Humble, charming and approachable portrayals of Guanyin like this were placed in homes and temples in provincial areas.
This exceptional, masterfully crafted, rare Ming or early Qing woodcarving is an image of the heavily bearded lohan Bodhidharma. As it is similar in size, robes and carving style as the wooden lohan (16436A), it is likely carved by the same artist and displayed among other lohan together. Both images display brilliant treatment of the bone structure, facial features and elaborate natural drapery of the robes and have wonderful warm patina with much of the original lacquer and polychrome remaining.
This powerful, exquisite and rare almost life-size Guanyin seated in teaching mudra to spread the dharma, radiates serene spiritual energy. To optimally enjoy this statue, she should be placed in an elevated position as it was modeled to be viewed from below. Magnificently carved and covered with lacquer, this statue will fill any environment with meditative tranquility. Authentic Buddhist carved images of this size, beauty, quality, and shape are very difficult to find, especially after China’s modernization.
This fine rare Ming/Qing carving depicts Shakyamuni Buddha in meditation is made from fine dense wood with much of its iridescent pigmentation. He is masterfully carved with a serene, benevolent and pensive expression wearing plain but elegantly carved monks robes. This spiritual piece is a small yet very powerful image.
This is a really great pair of stone small fu lions with lots of character, humor, and detailed carving. Each of these very joyous creatures has open mouthed smiling faces with radiant eyebrows and tufts below their chins, scalloped manes and bushy tails. Carved from one piece of a blackish hard stone they could easily withstand additional wear of the elements in a garden. Pairs of fu lions like this belong in the home of people who appreciate spirituality and wish for happiness and fortune along with a touch of wit and whimsy.
Although a Buddhist image, as a lohan this carving is portrayed as a real person with very individual, distinctive, and un-idealized features. His benevolent youthful face sweetly smiling face with downcast eyes is an image of compassion, wisdom and peace.This exceptional, beautifully crafted rare 17-18th century Ming/Qing large Lohan is from the same Buddhist site as the foreign-born heavy bearded Lohan Bodhidharma, and the same artist may have carved both. We recommend displaying them together.
This delicate small carving of seated White-Robed-Guanyin in meditation is carved in the round with fine details on all sides. Her face with downcast eyes is calm and serene, and she sits on a two-tiered radiating lotus-throne with her elegantly carved hooded robe flowing to the top of the base in lyrically curving patterns. Small, important and beautiful, this image was placed on a home altar with other Buddhist statues and house gods. It is mounted on a frosted acrylic base.
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