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.
Chinese Taoist and Popular Religion family home altars or shrines (Kam or Kung) 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. 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. Offerings of candles, incense and foods are placed to attract blessings of fu which they augmented by placing furniture in certain locations and using propitious colors (red and gold attracts the most fu).
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.
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.
Showing 73–80 of 80 results
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 carving, possibly Guanyin on lotus throne atop an ox. Vibrant gold 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.
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.
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 Guanyin image was probably one of a pair of images along with the Taoist Queen Mother of the West (16206A-WACK) placed together on a community, local temple or home altar. Created by the same local artisan, they are provincial rather than imperial style having a humble, unadorned and simple rendering, seated on backless thrones, hands covered by a ritual cloth, uncharacteristic of Guanyin but common for Taoist goddesses. Both wear layered robes and a high pointed crown – the Queen Mother’s centered by a phoenix and Guanyin’s by a flower surrounded by symbolic aureole of radiating light. Both have soft blissful smiles with eyes cast slightly downwards to engage their devotees. Initially covered in bright polychrome colors, there are traces of surviving red, yellow, green, brown and black.
This Queen Mother of the West, the highest ranking female Taoist deity was probably displayed as a pair along a statue of Guanyin, the most significant Buddhism female (Guanyin on a Lotus Pedestal (16206B) highlighting the importance and similarity of these revered female images Like the Guanyin, the Queen Mother’s delicately carved face has half closed eyes, serene composure mouth with a hint of a smile, which is more Buddhist than Taoist. Her headdress, centered by her iconic phoenix, rests under a hood extending to her shoulders and back. She wears a high collared three-layered Taoist robe, her hands covered by a ritual cloth.
This mid 20th century Buddha Shakyamuni in Earth Witnessing position is carved in rural Lao style. Covered with gilt, the small rustic and simply carved image follows Lao artistic canons for depicting a Buddha: a curved hairline and high arched eyebrows that meet at the bridge of the nose, distinct hair curls, long ears, and a flame-shaped radiance emerging from his ushnisha. Its very large base is as tall and wide as the image, reflecting Laotian beliefs that a high pedestal reflects a deep respect for the Buddha. A base has been added for display purposes. Authentic old Lao images, even small personal ones like this, are difficult to find.
This Chinese Republic Period delicate porcelain figurine holds a rose at her heart in her right snow white hand, her left arm covered by her shawl resting on a waist-high decorative vase with an opening to hold incense (joss) sticks. Her shawl drapes over her shoulders and lower garment with floral motifs extending to the beaded belt at her waist. The sweet facial expression with slightly smiling bowed lips is framed by her piled hair looped in a chignon over each ear. Given her luxurious garments and accessories, she is an aristocratic woman. The rose was often used on porcelains during this period, representing eternal spring.
End of content
End of content