The majority of VA products come from China, mostly South China, and includes all categories of objects: Spiritual and Inspiration Art, Folk and Ethnic, Accessories and Furnishings, Jewelry, Ancient Art and Wall Art. spanning from the Han to the Chinese Republic.
Showing 13–24 of 26 results
Shiwan stoneware fruit offerings were placed on the altar during the Ming to substitute for or augment fresh offerings. The three peaches and lotuses on a footed bowl are auspicious Chinese symbols associated with springtime, fertility and a long healthy life for many generations.
This delicate and vibrant Qing dynasty Shiwan stoneware glazed sculpture represents fresh fruit that symbolizes life and new beginnings would have been placed on a temple or home altar to represent and/or augment plates of stacked fresh fruit. Fresh fruit symbolizes life and new beginnings. These offerings are still made to honor the family’s ancestors, communicate with deities and bring prosperity, good luck and health to the home and would be an auspicious and decorative addition to any home settings where family members past and present are honored.
Wall pockets remain a very common decorative element in Asian homes. In China, they are used to hold chopsticks and flowers to bring good fortune to a space where the family gathers. This Shiwan stoneware pocket has 2 very auspicious symbols: a frog and a lotus that symbolize nurturing energy and transformation. With a hole in the back for hanging on a wall, it is great addition to enhance a kitchen’s coziness and feng shui and a wonderful wedding gift.
Decorative utilitarian Shiwan ware pieces are recognized for their fine modeling, vivid expression, and colorful apple-green and drip glazes. Chopsticks were commonly stored in wall pockets with a hole for mounting. Covered with auspicious symbols, they were often part of a bride’s dowry as “chopsticks” is a pun for “speedy arrival of sons.” It can hold utensils, dried flowers, and other objects and is a unique wedding gift.
Nanhai Guanyin in her Cave in lalitsana, below draped moss arch holding a scrolls with vial of tears of her humanity and parrot, her constant companion. Small Nanhai images with all these symbols in this condition are very rare.
Zhenwu (Perfected Warrior) is one of the most important and powerful Taoist deities, god of one of the 4 cardinal directions (the north) revered for his potent magical powers to suppress demonic forces. This provincial image for personal devotion and reflects his classic iconography: seated on a throne, bare feet resting on a snake and a tortoise, a celestial scarf and maille armor. Intricately carved he has a powerful presence.
Rare wood carved Ming Vairocana Buddha, the central figure of the Five Wisdom Buddhas. He sits in unction (uttarabodhi mudra) associated with Northern esoteric Buddhist Vajrayana/Tantric/ sects. This pose reflects the concept of consecration, symbolizes wisdom, perfection and connection to the divine.
As a protector of the sea Guanyin sits above a fish – represented as an emerging head and tail which symbolizes her power to help sentient beings safely sail through the sea of suffering which divides the mortal world and the Western Paradise to which Pure Land Buddhism devotees are brought upon their death. In this rare 18th century carving, the lotus on the base represents purity and the stem symbolizes Buddhist teachings which give rise to purity of mind.
We cannot precisely identify this pair but the seller said the costume details were of opera figures which were extremely popular during the Qing dynasty until it ended. Beautifully carved from a very dense hardwood, the figure and wife sit on a 3 level pedestals with long back supports. Clearly an official with a deeply…
This extraordinary rare and delicately rendered rural carving is a female bodhisattva possibly Guanyin seated on a lotus throne atop an ox. Beautifully highlighted in vibrant gold and adorned with intricate designs on the lotus petals and ox’s saddle coverings, this statue shows how the concept of a bodhisattva was adapted to the deification of “draft animals” (beasts of burden) who were integral to rural daily and agricultural activities in Chinese Popular Religion, Buddhism and Taoism beliefs.
This rare Ming Amitabha carving is depicted a noble, compassionated standing figure with hands in welcoming mudra as he receives devotees into his Western Paradise encouraging viewers to contemplate pursue their aspirations for rebirth there.
This rare Ming/Qing wood Buddha as an infant is probably more striking than the original piece. A piece for lovers of wood, its erosion shows the random miracle of chance. Highlighted on a frosted acrylic base.
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