Syncretism, the creation of new ideas and traditions by fusing elements from multiple and distinct sources, generally applies to religion, cultures and schools of thought. By their nature, Asian religious traditions and philosophies particularly Hinduism, Buddhism, Taoism, Confucianism and other minor religions are syncretic (blended) as they are inherently integrative and inclusive absorbing tenets of other religions. In China this concept is exemplified at the highest level with the four traditions of Buddhism, Confucianism, Taoism and Popular Religion blending so harmoniously and seamlessly that many scholars view them as components of one dynamic religious system with each one providing a significant and complementary role. As Edmond Eh states, Daoism reflects the Dao (道), “natural creative power,” Confucianism reflects de (德), “virtue” or “power” and Buddhism reflects wu (悟), “awakening” or “realization.” The three together along with folk beliefs are absorbed in Popular Religion. This syncretic blending is exemplified in the placement of images of all traditions on home shrines, shared celebrations and festivals and the use of Buddhist monks and Taoist priests simultaneously for rituals and ceremonies. Guanyin is an excellent example of a syncretic deity.
Sources:
Edmond Eh, “Chinese Religious Syncretism in Macau”, Orientis Aura: Macau Perspectives in Religious Studies, 2:63-80 (2017)
Showing 13–24 of 47 results
This pair is VA’s most unique and finely crafted Kitchen God couple. Wearing beautifully carved robes, clasping Hu tablets, they have approachable features and subtly smiling lips. The painted character on the base is a wish for “happiness.” These exceptional consecrated pieces are in excellent condition with a fine patina.
This Kitchen God and His Wife are well-carved, articulated, well presented. As mirror images sitting on backless chairs on a high plinth, they have similar layered gold officials’ robes and very different headdresses. Their clasped hands covered in ritual cloth symbolizes holding a hu tablet, they portray the reverence and solemnity associated with house gods whose future of families are in their hands. Antique Kitchen gods are unique and wonderful house or wedding gifts as they add warmth to positive chi to any decor.
Finely detailed and carved from dense wood, this Kitchen God and his Wife monitor the members of the home from their perch above the stove. Near mirror images of each other they wear layered gold officials’ robes with decorative sashes and symbolically hold a hu tablet. They are in excellent condition with most of the original pigmentation and gilt and make unique wedding gifts..
This single statue portrays the Kitchen God and his Wife on one stand which is rare and indicates their close and lasting relationship as the protectors of the home and family. The Kitchen God and his wife were placed above the stove, a central part of the household to view and report about the morality of the family members to the Jade emperor at Chinese New Year and ahve their fate determined for the coming year. His serene face has an uncharacteristic smile Their bright colors have faded naturally into a smooth warm patina which adds comfort and positive feng sui to any kitchen decor.
This extraordinary Guanyin originates from rural provincial less literate China. Not made in a sophisticated “imperial” style, its great charm depends on straightforward forms in bright and decorative color combinations. She sits on a backless throne resting on a lotus pedestal held up by a stem flanked by lotuses facing out in a royal ease (lalitsana) and her right hand is a relaxed vitarka mudra. Her oversized crown contains a framed Amitabha Buddha. Using vibrant unusual multi-colored color combinations, an informal sitting position, simplified, almost geometric shapes for the head and facial features and bright modest robes, she reflects a humble folk-art image very accessible to rural devotees. Its size indicates it was carved for a large home, clan or community temple.
This Mazu, the protector of sea farers, is portrayed as the imperially sanctioned “Empress of Heaven” seated on an elaborate horseshoe shaped dragon throne, hands clasped symbolically holding a hu tablet, adorned with elegant dragon robes, an official’s girdle, a flat-topped Empress headdress and small feet resting on a pair of gilt fu lions. Meant to be seen from all sides this beautiful carving is decorated on front and back.
This very rare and fine 16th century home shrine image displays the benign and compassionate countenance of Songzi Guanyin the “Bestower of Children.” She traditionally holds a male child in her lap facing out to her devotees to assure assistance to the hopeful parents to become pregnant, protect the mother’s pregnancy and the child after birth. She leans slightly forward, with delicate facial features with a sweet smile, wears a 5- lobed crown centered with a camellia flower a Chinese symbol of young sons and daughters. With round face and joyful half-closed and eyes, she looks lovingly at the child whose arm is draped over hers. The inscription on the back dates the pirce to 1521-1567
As a wish for a prosperous and healthy family with many sons, this small table elegant probably was in a young couple’s bedroom to hold small personal statues and store precious items. Guanyin sits a hǒu holding lotuses in the right panel and the left has fertility symbols rats with melons. It. is perfect for creating a personal home altar and a unique wedding gift.
In this provincial carving for private devotion on a home altar, Nanhai Guanyin sits in tranquilly in anjali mudra at her cave home on Putuo on a lotus throne set on an open lotus framed by a backdrop arch of openwork with pierced cut outs. She wears a five-lobed crown and flowing robes symbolizing her regal status in contrast to her modest robes. Few small Nanhai Guanyin figures have survived, and they are highly prized. In feng shui, Guanyin statues should be in the center of the home to bring blessings to the entire home.
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.
Guanyin clearly dominates this majestic carving, in meditation and wearing an ornate high blue crown centered with an Amitabha Buddha in a deep arched border and her traditional three-part robe extending to her pedestal throne topped by flat lotus leaves.This remarkable carving Nanhai-Guanyin is extremely rare, unique and difficult to interpret. We have never seen a Guanyin in her cave at Putuo surrounded by with two sets of attendants, her acolytes Shan Tsai and the Dragon Princess Longnu and a seated Taoist official/ priest or possible the donor at the apex. This was clearly commissioned by a very wealthy donor who wished to make a spiritual statement while emphasizing his reverence and status.
This amusing antique Nuo Opera mask portrays Tudi Gong, the benevolent Earth god with a smiling animated face, long eyebrows, a hemp beard and large ears wearing a high decorative hat. Tudi is a zhengshen, a god who is kindly, honest with a gentle disposition, symbolizing the great power of good, through which evil can be defeated. Nuo was popular during the Ming and Qing dynasties and although they are still performed in rural areas, there are few remaining troupes.
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