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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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…
Provincial carving of Zhenwu the Perfected Warrior, one of the most popular Taoist deities in the Ming/Qing dynasties, iconically shown standing on a snake and turtle, symbolizing those over whom he presides.
Taoist priest or shaman with a double-winged hat with a mythical taotie as a warning against greed and excess. His left hand in the Sword Gesture to cast out evil and right holding a tael symbolizing wealth and good fortune
Consecrated red lacquer and gilt home altar provincial Guanyin, elaborate 5-lobed crown centered with radiating bars symbolizing Amitabha Buddha and his aureole that represent the flames of Buddhism.
This masterfully carved and painted 18th century statue of a Taoist priest/official wears elaborate robes and a hat. His well-articulated face has strong features and solemn gaze, flanked by pendulous ears, the sign of a wise man. This exceptional image deserves the appropriate placement to optimize its outstanding presence.
Very rare and fine 16th century home shrine image with compassionate countenance of Songzi Guanyin the “Bestower of Children.” With joyful half-closed 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. Inscription dates it to 1521-1567
Although this rare Ming image is missing its arms, it is a powerful yet charming sculpture of the infant Buddha as humble and confident with a youthful torso.
Splendid, large Guanyin statue on lotus throne likely placed in a prominent position in a Buddhist Temple or shrine. In meditation, eyes cast down, realistic with graceful benevolent postures and facial expressions. Sophisticated decorative Ming/Qing style with crown, jewelry reflect her regal status.
Rare provincial image of Guanyin tenderly holding a young child’s hand similar to Songzi “Child-Giving Guanyin”. Consecrated with vibrant gilt and red surface in front and back.
Rare provincial consecrated carving of Nanhai Guanyin on a lotus, representing purity of the mind, above a fish symbolizing her power to help beings sail through sea of suffering separating mortal world from the Western Paradise.
Rare provincial home altar consecrated gender neutral Guanyin is in meditation on lotus throne wearing five-lobed crown symbolically representing the 5 Dyhani Buddhas in the Vajrayana Tantric tradition.
Rare provincial carving of Guanyin on an ox reflecting the concept of bodhisattva reverence for “draft animals” (beasts of burden) who were integral to rural daily and agricultural activities in Chinese Popular Religion, Buddhism and Taoism.
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