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.
Showing 25–36 of 63 results
Finely detailed and carved from dense wood, this Kitchen God and his Wife monitor the members of the home from their perch above the stove. Near mirror images of each other they wear layered gold officials’ robes with decorative sashes and symbolically hold a hu tablet. They are in excellent condition with most of the original pigmentation and gilt and make unique wedding gifts..
This superb, colorful and rare carved Buddha is seated in vitarka-mudra, the taching hand position. His delicately carved calm face has a benevolent and compassionate expression with a slight reassuring smile. The elegant body appears to float above deeply carved swirls reminiscent of clouds. Fine facial features, the graceful body and exquisitely carved and painted drapery make this a truly impressive and striking image. Given its size and masterful carving , it should hold a place and be revered commensurate with its spirituality and artistry.
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 ancestor figure is portrayed as a Mandarin civilian official indicating either his actual high rank or his family’s desire to depict him as one seated in a traditional official’s pose and dressed official Mandarin attire and high status boots. The three-character inscription on the pedestal seems to be a name 范 懋卿（Fan Mao Qing) that probably indicates his identity and/or the family who commissioned the image.
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.
This small fine quality piece depicts a modest ancestor figure as a Mandarin official seated in a horseshoe chair on a raised pedestal emphasizing his importance wearing the traditional mandarin 5-button long coat with a round collar, a plain officials hat, and an undergarment extending to the top of his black shoes. He has a somewhat personalized oval-shaped tranquil face, a high forehead with curved painted brows, a hint of a smile on his pursed lips, and a triangular pigtail down his back.
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 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.” She traditionally holds a male child in her lap facing out to her devotees to assure assistance to the hopeful parents to become pregnant, protect the mother’s pregnancy and the child after birth. She leans slightly forward, with delicate facial features with a sweet smile, wears a 5- lobed crown centered with a camellia flower a Chinese symbol of young sons and daughters. With round face and joyful half-closed and eyes, she looks lovingly at the child whose arm is draped over hers. The inscription on the back dates the pirce to 1521-1567
Guanyin clearly dominates this majestic carving, in meditation and wearing an ornate high blue crown centered with an Amitabha Buddha in a deep arched border and her traditional three-part robe extending to her pedestal throne topped by flat lotus leaves.This remarkable carving Nanhai-Guanyin is extremely rare, unique and difficult to interpret. We have never seen a Guanyin in her cave at Putuo surrounded by with two sets of attendants, her acolytes Shan Tsai and the Dragon Princess Longnu and a seated Taoist official/ priest or possible the donor at the apex. This was clearly commissioned by a very wealthy donor who wished to make a spiritual statement while emphasizing his reverence and status.
This fine ancestor figure portrayed as a Chinese official with many indications of his high status. He sits on a backless chair upon a high decorative pedestal upon which his feet rest and . He wears officials attire: a futou cap and high collared red robe with double belt extending to his shoes. He sits in a formal pose with hands on his thighs holding a long slender hu tablet. His facial hairs indicate a mustache and beard, now partially lost, on his gilt colored face.
This unique and dense antique/vintage carving may represent the noted historical figure: the principal regent Dorgon of the first Qing Emperor Shunzhi who ruled from 1643-1650 as a”quasi” emperor based on the four-character inscription that reads “Southern Holy Emperor.” He is presented wearing an impressive and detailed hat and coat holding a hu tablet characteristic of one standing before an emperor.
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