The Chinese word fu (福) is translated as happiness, blessings and good fortune and the wish for fu is represented by well recognized symbols is ubiquitous in all aspects of Chinese life displayed in architecture, furniture, functional and utilitarian objects, porcelains and pottery, textiles, clothing, jewelry and other decorative accessories. Red is the color of fu which is also complemented and enhanced by gilt. The character fu is auspicious, as are their homophones and rebuses. A bat (fu 蝠) is a homophone for “good fortune” or “happiness” as its tone is very similar to the tone to for fu (福) As they are homophones, the bat is a symbol and also a visual pun (rebus) for good luck, often found in colored red. When the character for fu (福) or the representation of a bat are upside-down, it signifies that ‘good fortune has arrived’ since the word for ‘arrive in Chinese sounds like the word fo ‘upside-down., another Chinese homophone. Five bats represent the Five Blessings or Happinesses .
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Shiwan stoneware fruit offerings were placed on the altar during the Ming to substitute for or augment fresh offerings. The three peaches and lotuses on a footed bowl are auspicious Chinese symbols associated with springtime, fertility and a long healthy life for many generations.
This hand carved antique stone flu lion is a fun loving benevolent creature as seen in his open mouth with sharp teeth in a fanciful grin with a curled tongue, mischievously twinkling eyes under bushy eyebrows and a compressed rotund body with a very small tail. This is not your refined portrait of an elegant protective beast, it’s just a friendly pet hanging out . He probably lived in the garden of a provincial fun-loving family and is looking for a similar environment where people like old wonderful pieces to remind them not to take themselves too seriously.
This delicate and vibrant Qing dynasty Shiwan stoneware glazed sculpture represents fresh fruit that symbolizes life and new beginnings would have been placed on a temple or home altar to represent and/or augment plates of stacked fresh fruit. Fresh fruit symbolizes life and new beginnings. These offerings are still made to honor the family’s ancestors, communicate with deities and bring prosperity, good luck and health to the home and would be an auspicious and decorative addition to any home settings where family members past and present are honored.
During the Ming and Qing dynasties small images of Taoist officials and priests were often shown holding a cup of the elixir of life to place on home altars along with ancestor figures, house gods and other religious images to bring blessings (fu) to the household. By commissioning figures like this artful carving, families honored their ancestors and met their filial piety duties. Mounted on an acrylic stand.
Ancestor worship has been practiced throughout China using carved wood figures of deities, monks, priests and ancestor figures on home altars. In recent years there has been a resurgence of ancestor worship, especially in local Chinese communities practices by Buddhists, Taoists, and Popular Religion followers. Carvings of Taoist priests called daoshi often hold Taoist symbols…
This intricately hand carved gold and silver platter with indentations on both sides was used to make confections called sweetmeats eaten at festivals, holidays, and other key celebrations. The round molds symbolize the moon and cohesion of the family. The 5-petal plum blossoms attached to vines symbolize purity and endurance, as well as the coming of spring, renewal, and longevity. The multiple seeds are a wish for fertility and sons, and thus this mold may have been a holiday and/or marriage gift to a young couple.
The Kitchen God (Zao Shen) was and still is among the most important Chinese house gods. Traditionally every family had its own Kitchen God with or without his wife above the stove to reflect his and its central position in the family’s life. The Kitchen God is both a syncretic and a tutelary deity embraced…
This Kitchen God and his Wife is posed as streamlined virtual mirror-images and fashioned with a general quality relying on paint rather than deep carving for details. They sit on backless chairs on a plinth, with simplified gold officials’ robes with long color sashes, and well-carved black and gilt head gear. The wife’s face is smooth, generalized and the male face has a more deeply carved surface and painted highlights.
This finely detailed hardwood mold was used to make sweetmeats confections, perhaps mooncakes for the Chinese Autumn Moon Festival. It is covered with deeply carved propitious symbols for marital harmony, sons and successful endeavors: a four clawed dragon for fertility, two ducks symbolizing marital bliss and harmony, one atop a carp for conjugal bliss and achieving noble rank and a boat with a sail for making all this easy sailing. This would be a great accessory or gift (especially for weddings) to spice up any kitchen.
This late Song dynasty earthenware ceramic brick tile portrays a couple sitting behind a banquet table with foods placed in front of them. On the right are two figures, one of whom points to a stylized image of a bat flying in the sky.
This remarkable figurine is Guanyin on her mythical mount, the Hǒu, 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.
This earthenware brick tile bordered with a deep scalloped frame depicts a vase with a bouquet of propitious flowers: a chrysanthemum and a peony wrapped with an elegant ribbon. Tiles like this were made to decorate the large numbers of buildings created during the prosperous Song dynasty and to adorn tombs. This elegant brick is in good condition for its age with expected chips and cracks, some restoration of background and a re-glued frame break on each side. It has earth adherents from its burial in a tomb.
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