In many world religions, home altars are spiritual tables on which sacred images, symbols or texts are placed and honored with offerings made for venerating deities and/or ancestors by family members that generally include light from candles or lamps, incense, flowers, food and water. In Buddhism, home altars are physical spaces that support spiritual practice, encourage devotees to attain enlightenment and show gratitude to the Buddha for showing the way to enlightenment. Buddha and Buddhist deity statues and other spiritual symbols remind devotees of the qualities of Buddha’s wisdom and compassion and serve to inspire devotees to develop these qualities as they recall Buddha’s teachings. In Hinduism, the home altar is the most important part of a household where all family actions and decisions are made, special events are celebrated, and members gather to perform daily prayers (puja) to show reverence and devotion through prayer, supplication, songs, ceremonial worship and rituals. Hindu statues, images of deities who protect the family and engender good fortune, are placed there along with other ritual items of devotion. Chinese Taoist and Popular Religion home altars honor ancestors, attract blessings and avert malevolent forces and influences. Ancestor worship is a family affair to communicate with and provide greetings and support to the deceased, engage in prayer, display filial piety and make offerings to ancestor statues and/or tablets. Taoist, Popular Religion and Buddhist deities maybe placed along with images of Taoist and Buddhist priests, deified local heroes and legends. All home altar statues are blessed in an eye-opening consecration ceremony performed by a Taoist or Buddhist priest or monk to imbue with them with chi and give them life. Home altars are now viewed as spiritual, and often meditational spaces to celebrate one’s family. Along with spiritual icons or statues, they include photos of loved ones, well-loved mementos or trinkets, hand-written notes or letters. Additional spiritual elements include candles, crystals or incense.
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This Roman Egyptian figurine from Alexandria of a woman holding a young child is a Kourotrophos, a class of god and goddess figures holding infants or children. Referred to as child nurturers, these were revered deities, cult figures and mortals who were fertility symbols and protectors of the young.
This figure is Harpocrates the Greek god of silence, confidentiality and secrets holding a jar. The iconography hints at a royal and temple cult, as he wears a double crown symbolizing both Upper and Lower Egypt. A royal emblem showing an association with the contemporary king, in Egypt royals with crowns were a manifestation of the Egyptian god Horus. Small white specks are all that remains of the slip and colorful paints covering it. Missing part of his right side when excavated, there are no repairs and it is mounted on a stand. Given its age, the image is in good condition with normal scrapes and cracks found in pieces of this age.
This beautifully carved and heavily gilt antique cabinet is a fine example of Straits Chinese furniture made in Guangdong for the Southeast Asia market. Double hinged vertical doors with wood pegs are composed of three carved openwork panels: horizontals on top and bottom and a tall one in between. Each door has a phoenix flanked by peonies in the center panel. Above and below the doors are open-work panels with florals running horizontally. The shrine rests on a low pedestal with curving gilt lines and florals. Above and below the tall panels are thin horizontal panels centered with a pod filled with seeds expressing a wish for many sons. The inside rear wall has a painted outline of a gilt table holding a finely painted gold, black and grey Chinese screen.
This masterfully carved ancestor as a mandarin official sits on horseshoe chair set on a footed high decorated plinth dressed in a well-appointed formal 3-button Mandarin long coat, pointed rattan hat. His face is uniquely and unusually very individualized with heavy lidded eyes, in a benevolent expression and his advanced aged indicated by the wrinkles clearly depicting a loved individual. It is in excellent condition with a fine patina. This exquisitely carved image was true homage to a revered family member and is one of our finest ancestor figures.
This rare fine woodcarving represents Chou Ts’ang, the aide-de-camp to Guandi, the most revered military hero in Chinese history. Portrayed with black skin tones, he has an intense expression highlighted by inset glass eyes and wears a military uniform with raised beads bordering his topcoat tied above his waist, a belt below his stomach, and heavy black military boots and hat. The sword he originally held is now missing. His plain round pedestal has an indentation in the middle, possibly to affix the figure to a larger configuration.
This fine woodcarving is Chou Ts’ang (Chou-Tsang), the aide-de-camp and attendant to Guandi, the most revered and well-known military hero in Chinese history and the Taoist God of War. As an attendant his hands held together paying respect in anjali mudra while facing Guandi. He is normally placed to Guandi’s left with eyes downcast in respect to the general and either his left foot forward ready to spring into action or his legs firmly planted on the ground. His protective military clothing, maille, and heavy boots are presented in detail and the high rectangular red and black pedestal with painted gold florals makes him a key figure even though the figure of Guandi he attends would have been significantly larger and important. With expected minor chips, cracks, wear and paint losses, it is in very good condition although hanging material is missing from left sleeve.
This lovely carving of a beautiful young woman represents an attendant that would have been housed on a home altar or shrine to accompany an enlightened Buddhist or Taoist figure at whom she modestly gazes. Her hands, covered by a draped ritual cloth, hold offerings, she wears a fine tiered robe that falls gracefully to her shoes, her head is topped by a decorative scalloped headdress and a ribbon swirls around her implying her significant power, weightlessness or being in the heavens. The carving is in excellent condition with painting and applied lacquer over the back as well as the front and its lustrous patina attained over centuries adds depth and softness to the image. This is truly an elegant and forceful statue symbolizing the bestowal of blessings and longevity.
This precious finely-carved diminutive figurine is an enlightened Buddhist attendant who stands on a double lotus base used only for enlightened beings as part of an array of images to bless the family for a special occasion – the marriage of a son or daughter as indicated by the inscription on the back. With hands in reverence her eyes glance down down modestly with dellight for the figure she attends and the joyous occasion . The skillful modeling of the image and the detailed inscription make this a very special piece.
This well-carved figure represents an attendant that would have been on a home altar to accompany a Taoist figure. Standing on a tall pedestal with a slight smile and downcast eyes, he reaches across his chest to present a rounded box secured with a ribbon. He wears an official’s hat and boots, open waistcoat over an undergarment secured at the waist. The pointed inner panel of his lower garment has slightly flaring panels with incised carved decorations. He is in very good condition with remains of the original lacquer and gilt which have naturally darkened from age and. from years of incense, age and use.
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 finely cast antique recumbent miniature statue with finely articulated features portrays Nandi decorated with jewels and sitting recumbent on a high-tiered throne. Waiting to serve his Lord Shiva and kneeling in reverence and worship, Nandi is a symbol of purity and strength. Small figurines like this were placed on home shrines with other deities and items of significance to the family. Made using lost wax casting method whose mold is destroyed after use, it is a one-of-a-kind piece in very good condition with casting and plating flaws in the rear and a surface scratch and minor plating loss on the back left side.
This small antique brass Nandi is well-proportioned, exquisitely handcrafted and has a wonderfully aged patina. He sits recumbent on a raised rectangular platform. Delicately incised with decorative details delineating the head, neck, snout and body, his right leg and tail are sinuous, graceful ornaments rather than defining features. His head is at a 45-degree with lyrically curved horns in contrast to most versions with horns extending backwards. This Nandi is based on a South Indian cow whose humpback is emphasized here by two parallel lines covering it as if is part of a saddle or another ornament feature.
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