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Shiwan stoneware glazed sculptures of fruit symbolizing life and new beginnings to place on temple or home altar. They augment plates of fresh stacked fresh fruit to honor ancestors. These pears symbolize long life.
Chopsticks are ubiquitous in Chinese culture, and are often included in a bride’s dowry as a wish for a speedy arrival of many sons. This Shiwan ware green glazed wall pocket chopsticks holder has characters wishing for many sons and grandsons and an upside down bat holding a coin for “blessings in front of your eyes.”
Decorative utilitarian Shiwanware pieces are recognized for their fine modeling, vivid expression, and colorful apple-green and drip glazes. Chopsticks were commonly stored in wall pockets with a hole for mounting. Covered with auspicious symbols, they were often part of a bride’s dowry as “chopsticks” is a pun for “speedy arrival of sons.”
Delicate white robed Guanyin in meditation on radiating lotus throne. Provincial humble, modest, relatable, yet beautiful matronly figure.
Colorful Taoist priest carving holding a cup with the Elixir of Life granting eternal life. Red is the color of fu to bring into the home divine favors. Whimsically painted face and raised lacquer decorations, it was consecrated and originally placed on a home altar.
Large C-shaped Tuareg manilla made from sand moulds, has massive finials with 12 facets with detailed hand-etched and hammered designs including raised circles.
Antique horseshoe shaped Tuareg “King” manilla, magnificent metalwork, 10 faceted flat finial ends with traditional etched and hammered geometric designs, excellent condition, fine patina.
Tuareg horseshoe-shaped manilla with bold hammered and incised decorative motifs unique to individual Tuareg tribes Divided in sections, with etched designs, circular cutouts, ending knot finials. .
Tuareg horseshoe shape manilla with bulbous rounded faceted ends, hand hammered fine details.
Finely fashioned Tuareg slim circular-shaped manilla bracelet/anklet, hand incised striated decorations, and faceted rounded beads at the open hoof-shaped terminals ends.
This 19th-century miniature wood figure is a finely and whimsically carved portly seated merchant. He is depicted as a Laowai or “old foreigner” with a westernized face and hat and oversized hands placed on his knees. Seated on a platform base, he wears garments reflective of the Chinese culture at this time but wears a hat that is clearly not of Chinese origin. Other indications this charming figure is a foreigner include the roundness of his face, western facial features and oversized hands.
Antique carving of a Devi (Sanskrit: divine) probably a child’s toy and and protective item. Tikka on forehead, ample breasts – a wish for fertility with a shiny patina from use.
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.
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