Many Chinese wood images have a hallowed-out cavity on their back which was central to an “eye opening” ceremony held to imbue each carving with its own life force. All Images – Buddhism, Taoist or Popular religion – had to be consecrated by a Taoist Priest, Buddhist Monk or spiritual leaders to be placed on a home altar and to protect all family members and domestic animals. The cavity was filled with ritual objects and may have included documents like favorite Buddhist sutras, Taoist poems or prayers, messages to ancestors, entreaties to deities, or a script by the presiding person describing the figure and when and by whom it was commissioned. The ceremony was attended by the artist, donor, relatives and friends, and other Taoist or Buddhist congregants. The cavity was sealed and eyes were painted to impart sight, the final component of life. Stevens states carvings were “respectfully presented to have its eyes opened before the Gods so that it. would be able to rid their dwelling of evil spirits and bring them blessings.”Most bungs and contents have been removed; we believe unopened ones should remain in difference to the spiritual traditional and history they represent.
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Designation as civilian Mandarin officials was so significant that families fervently sought to perpetuate this image through generations in carved and painted ancestral renderings, especially ancestor-figures. This civilian official sits in the traditional official’s pose with arms on short armrests in an an ornately carved high back chair, curved backrest, tall legs and vertical slats…
This masterfully carved ancestor as a mandarin official sits on horseshoe chair set on a footed high decorated plinth dressed in a well-appointed formal 3-button Mandarin long coat and pointed rattan hat. His face is uniquely and unusually individualized with heavy lidded eyes, in a benevolent expression and his advanced aged indicated by the wrinkles clearly depicting a loved individual. This exquisitely carved image in excellent condition with a fine patina was true homage to a revered family member and is one of our finest ancestor figures.
Portrayed as an official, this ancestor figure sits on a horseshoe chair showing his status wearing compulsory officials attire: a 5-button Mandarin long coat with a round collar and official headwear – a woven hat whose shape and color reflected his rank. His personalized personalized oval-shaped is tranquil with a hint of a smile on his pursed lips, and a triangular pigtail down his back.
This Mazu, the protector of sea farers, is portrayed as the imperially sanctioned “Empress of Heaven” seated on an elaborate horseshoe shaped dragon throne, hands clasped symbolically holding a hu tablet, adorned with elegant dragon robes, an official’s girdle, a flat-topped Empress headdress and small feet resting on a pair of gilt fu lions. Meant to be seen from all sides this beautiful carving is decorated on front and back.
This very rare and fine 16th century home shrine image displays the benign and compassionate countenance of Songzi Guanyin the “Bestower of Children.” With round face and joyful half-closed and eyes, she looks lovingly at the child whose arm is draped over hers.and leans slightly forward, wearing a 5- lobed crown centered with a camellia flower a Chinese symbol of young sons and daughters. The inscription on the back dates the piece to 1521-1567
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.
This carved ancestor figure portrayed as an official sits on a backless chair with a decorative pedestal in official’s attire: a high collared red robe, double belt above and below his ample stomach and holding a long slender curved hu-tablet, all signs of his office and status. He is vibrantly painted in red, the color of fu, as a wish for prosperity and status.
This excellently carved civilian official with gilt highlights was commissioned by a family to place on a home altar for veneration and to impress those who viewed it. The imposing ancestor figure grasps his belt of office to show his pride in passing examinations to become a civil official, which leads to a life of rank and prosperity for him and his family. Statues like this are an affirmation of persistence, success, status and power and they honor those who display these characteristics.
The Queen Mother of the West is one of the most significant of the female Taoist-deities and as a syncretic deity, has a huge Popular Religion and Buddhist cult following. She is one of the Great Chinese Goddesses and patron deity of women who controls life and death, creation and destruction and determines the life…
Wearing a magnificent headdress with her iconic phoenix this rare image of the Taoist Queen Mother holds a cup with the elixir of immortality which grants eternal life. She sits on an regal horse with a bell hanging on his chest. In the Taoist tradition horses symbolize man’s harmony with and the elegance of nature.
Among the oldest Chinese female Taoist-deities, the Queen-Mother of the West Hsi Wang Mu is mentioned in 300 BCE in sacred texts as a goddess who “obtained the Tao.” A patron deity of women and a divine teacher associated with the cultivation of virtue and immortality, she controls the life, death, creation and destruction of…
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