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 49–60 of 63 results
Taoist priests like this were placed on home altars to bring wishes of fu – a virtuous, prosperous and long to the home in which they were placed. This vibrant figure hold a ritual cup symbolically containing the elixir of life in his left hand. The open back cavity reveals the slip that was placed there during a consecration ceremony by a taoist priest.
This charming White Robed Guanyin sits on a Hǒu, the mythical guardian beast that symbolizes righteousness and morality and the mandate to usher in peace and prosperity. Although generally beast, this Hǒu is a gentle Buddhist creature curled around Guanyin’s side as she in lalitsana clasping a rosary. This fine and rare provincial folk version of Guanyin is a small yet powerful carving.
This finely carved seated Lohan from Fukien Province has a characteristic serene expression of inward concentration and is seated on a backless plinth, hands in meditation and legs in padmasana. His oversized head and pendulous ears symbolize his wisdom as an enlightened being, and his angular face with deeply set heavily lidded eyes, protruding cheekbones, pursed lips, and a strong chin indicate his strength as a Lohan. An elaborate robe with wide sleeves is draped over his shoulders, arms, and legs and his sash is pulled through a wide shoulder ring indicating his status as a Lohan.
Given that this image of the infant Buddha is missing both arms it is remarkable that it is remains a powerful yet charming sculpture. Created by a skilled rural artisan from one dense piece of wood, this rare statue of the the young Buddha is a humble child in a relaxed and confident stance with a youthful torso, a round head, bent legs, wearing a modest waist-cloth and standing on a small plain round base.
The Taoist god Zhenwu, the Perfected Warrior, is one of the most revered Chinese Taoist deities venerated for his ability to heal as well as to protect his country and the emperor. In this fine provincial piece he is humbly presented with a plain robe with an official’s belt wrapped around his back and over his ample stomach which more resembles a Chinese official than a deified warrior. His face has well-defined features including the eyes and lips set in a benevolent slight smile. It was painted in polychrome and some of the original black, yellow, and red paint can be seen on the bottom.
Images like this were commissioned by families to honor departed ancestors, and this family seems to have requested an amplified tribute by posing him with characteristics of Guandi, the god of war, or maybe it is Guandi very liberally depicted by a provincial artist. He sits on a high backless chair, hands on knees, one holding a small tael and the other poised to hold a sword, wearing military maille at the chest and knees, also used in depictions of Guandi. The calligraphy on the base is the name Wu (last) Fa Tian (first), the ancestor to whom the statue was dedicated.
This vibrant carving of a Taoist priest or shaman is in religious attire with double-winged high hat centered with an image of a taotie. Two fingers of hisleft hand are in karana mudra to cast our evil spirits and the tael or silver ingot in his right hand represents a wish for wealth. The closed cavity and the inscription on the back indicate it was consecrated by a Taoist priest.
This remarkable and rare large wood carving represents a lohan, a revered Mahayana Buddhist monk who represents the ideal toward which Buddhist devotees strive. Unlike carvings of other enlightened Buddhist beings, lohans are portrayed realisticallly rather than idealized This lohan is portrayed as a powerful yet ordinary elderly monk, wrinkles and all, with a pensive face and flowing monks robes that create a serene, meditative aura. With superior wisdom and knowledge lohans inspire Buddhists to seek their own personal path towards enlightenment
This charming 18th century provincial Guanyin of the South Sea sits in her cave at Putuo in meditation on a lotus smiling joyously. As a protector of the sea, she is seated on an open lotus above fish with his head and tail emerging from the water. The lotus blossom 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 figure is Guanyin represented as gender neutral in meditation on a lotus throne. Her humble demeanor, modest robes and absence of stylized decorative details indicate it was carved by a provincial artisan, and its simple elegance exemplifies the best of provincial Ming and Qing carvings. She is a tranquil figure with simple, soft, and beautifully rendered facial details with almond shaped eyes cast down in serene composure wearing a five-lobed crown symbolically representing the five Dyhani Buddhas and reflecting Vajrayana Tantric influence.
This rare Chinese carving is probably Chun-ti P’u-sa, a tantric female deity called the Bodhisattva of Light, worshipped by Chinese Chan (Zen) Buddhists as a merciful Bodhisattva. In tantric style she has three faces, multiple arms and six hands, and an elegant lobed crown centered by Amitabha, as does Guanyin. This is an extremely rare and important piece and is as lovely as it is spiritual.
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