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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The Queen Mother of the West (Xiwangmu) is the most significant of the female Taoist deities and is viewed as having magical powers to controls life, death, creation and destruction and determines the lifespan of every living being. She lives with her husband the Jade Emperor in Kunlun Mountain where she attends her famous garden…
Seated in lalitsana, the position of royal ease, this delicate White Robed Guanyin is traditionally portrayed as a humble and modest deity, although she has a gilt lacquer surface. Her white hood is draped over a stylized image of Amitabha Buddha to whom she is a companion in Pure Land Buddhism, the most widespread Buddhist sect.
18 original Lohans were the major disciples of Shakyamuni Buddha whom he, at his death bed, entrusted to protect and promulgate Buddhist teachings. Over centuries, their numbers increased to over 500 enlightened beings recognized for their courage and supernatural powers. In Mahayana Buddhism, Lohans represent the ideal toward which Buddhist devotees should strive as they…
This red lacquer and gilt covered image made for a home altar is a Pure Land Buddhist statue. Although it is a provincial image it has an elaborate headdress and decorative necklace of imperially sanctioned Guanyin images. Her 5-lobed crown is centered with radiating bars symbolizing Amitabha Buddha and his aureole that represents the flames of Buddhism.
Zhenwu (aka Xuanwu, Wuandi and Zhenwudadi) is one of the most revered Chinese Taoist figures, venerated for his ability to heal as well as to protect his country and the emperor. There are various depictions of his attire, but here he wears a plain black robe with an official’s belt which he holds in his…
While major deities such as Guandi were officially sanctioned by government and religious authorities, many popular deities and historic figures were integrated into Popular Religion beliefs where they were assimilated and greatly modified with local traditions and iconographic depictions such as this. We assume this is Guandi, one of the most revered Chinese deities based…
This image from Guandong wears typical Taoist priest or shaman attire – an undergarment crossed at the neck, an overcoat clasped at the waist and a double-winged high hat centered with an image of a taotie. The taotie is a mystical animal sometimes on the hat of Taoist priests or shamans as a guardian or…
Guandi, the God of War and Justice and Protector of China and its citizens was a Chinese model of loyalty, virtue and morality and was depicted in Temples and home shrines throughout China. This antique figurine was probably part of a larger carving. He wears military maille, black gloves with a carved taotie which is a warning against gluttony and is covered in gold as a sign of power. The open back confirms it was consecrated by a Taoist priest. Mounted on a frosted acrylic stand.
The 5-lobed crown of this rare Nanhai Guanyin contains the 5 Dhyani Tantric Buddhas of Wisdom. Carvings like this that were consecrated for placement on home altars were often covered in gilt as both a display of personal devotion and the wealth of the donor.
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.
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 delicately carved home altar Guanyin is gender neutral in meditation on a lotus throne. Her humble demeanor, modest robes and absence of stylized decorative details exemplify the best of provincial Ming and Qing carvings. She is a tranquil figure with simple, soft, and beautifully rendered facial wearing a five-lobed crown symbolically representing the five Dyhani Buddhas and reflecting Vajrayana Tantric influence.
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