Many of our antique items are mounted on frosted Acrylic bases. Also known as Plexiglass, Acrylic is a transparent plastic material similar to glass that is much lighter and stronger. These modern, uniquely fashioned stands are tailored to each piece by cutting the material to an optimal size and hand sanding it. This more labor intensive process results in a modern opaque acrylic in a frosted white color making each piece extremely well suited for display in modern contemporary interiors.
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This rare carving of the infant Buddha with well defined features is clearly a provincial rendering that uniquely departs from traditional renderings. He holds a monk’s begging bowl as he points to the heavens and he stands on a lion’s head, as he is the lion of the Shakya clan. Given its small size, it was probably displayed on a home altar.
This delicately carved seated female attendant probably accompanied a religious image on a home altar. She holds an offering plate with three offerings of dumplings or pieces of fruit, possibly a peach trio, Chinese longevity symbols. A three-item offering is a pun for a group of three ancient coins known as tael a symbol of wealth and a wish for high status.
Antique Chinese puppets were often made in several parts with removable heads. This antique carved head of a beauty has delicately painted features and an animal hair braided down the back. Since there is an area without hair towards the back, she likely originally wore a hat or headdress. A hole on top probably accommodated strings.
This beautifully carved God of Wealth (Caishen) is portrayed as are all Taoist deities as an authoritative figure, right hand firmly placed on his knee and left hand holding a tael. His outer robe has decorative borders down the front and carved coins at the shoulders, stomach, and an undergarment is gathered with a floral designed tasseled cord. His well-defined face with incised wrinkles and long beard has a benevolent expression with rounded cheeks and an open mouth, topped by an elaborate official’s hat with ribbon-like extensions. Very fittingly, it is painted with red and gold both associated with wealth.
This lacquer woodcarving is a Guanyin manifestation called “white hooded,” “white clad” or “white robed” Guanyin derived from the many paintings where she is clad in white. Although wood carvings usually portray her clothed in red, this finely carved version is covered in a lacquer coat that darkens naturally over time and darkens even more when honored on a home altar with daily prayers and offerings of smoky candles and burning incense.
This remarkable and enchanting figurine is Guanyin on her mythical mount, the Hǒu the guardian master of the universe and model for righteousness and morality who symbolizes bringing forth peace and prosperity.The round orb in its mouth representing a pearl can be rubbed for good luck. It is one of our most unique and favorite Buddhist statues, mounted on a frosted acrylic stand.
Guanyin’s elegance, compassion and serenity are emphasized in this graceful antique provincial carving. Portrayed in meditation with flowing robes on a majestic three-tiered lotus throne she was designed for personal veneration in a home setting.
This delicately detailed Guanyin statue seated in meditation on a two-tiered backless throne has flowing braids, simple necklace, and voluminous robes indicate her regal status, while her pendulous ears, compassionate downcast eyes, serene contemplative expression, and calm smile symbolize her enlightened status. The image’s distinguishing feature is its deeply carved three-part diadem (crown) centered with a carved Amitabha Buddha on lotus throne surrounded by an aureole.
Guanyin is portrayed in this gilt and lacquer carving seated on a lotus in the lap in meditation mudra atop a decorative footed stand in elegantly draped robes. In thisregal form she wears a 5-lobe crown with a cross hatch design in the center while her hair rests atop her head in a bun encircled within the crown.
In this elegant and vibrant carving Guanyin sits in meditation and feet in padmasana. Her beautiful, serene face is elegantly carved in contemplation with half-closed eyes and bud-shaped lips softly set in a welcoming and benign sweet smile. Her forehead is framed with soft curls and long hair drawn into chignon set behind her striated five-lobed crown and falling in knotted braids to her shoulders. Wearing elegant long flowing gilt and red robes, 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.
Statues like this Guanyin in the Mahayana Pure Land Buddhist tradition were especially popular during the Ming and Qing dynasties. This carving epitomizes the best of folk art spiritual traditions of provincial artisans who replaced imperial constructs with provincial depictions that combined Buddhist, Taoist and Popular Religion traditions. Humble, charming and approachable portrayals of Guanyin like this were placed in homes and temples in provincial areas.
This charming extremely well-modeled carving depicts a White Robed Nanhai Guanyin in her Cave on Mount Putuo seated on an open lotus in lalitsana below an arch of draped moss . Nanhai Guanyin was massively popular in the Ming/Qing dynasties when provincial wood images were made for home altars throughout China. She holds a scroll representing Buddhist teachings accompanied by a vial with the tears of humanity and a parrot, her constant companion. Small home shrine Nanhai images with all these symbols are rare.
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