Showing 13–24 of 51 results
This remarkable and enchanting figurine is Guanyin on her mythical mount, the Hǒu the 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.
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 delicately detailed Guanyin statue seated in meditation on a two-tiered backless throne has flowing braids, simple necklace, and voluminous robes indicate her regal status, while her pendulous ears, compassionate downcast eyes, serene contemplative expression, and calm smile symbolize her enlightened status. The image’s distinguishing feature is its deeply carved three-part diadem (crown) centered with a carved Amitabha Buddha on lotus throne surrounded by an aureole.
This graceful brass oil lamp is topped by two peacocks, a large one that held oil and a smaller one decorated with striated lines. sitting high on a thin mount with a spiral base. It was used for Hindu prayer rituals (puja) in the home or at temples and for devotional worship. This fine lost wax lamp with a soft patina is a one-of-a-kind piece. Often used in Hindu religious sculptures, peacocks have a strong religious tradition and represent harmony, joy and beauty and the time cycle.
This graceful South Indian cast brass oil lamp with attached spoon was used for Hindu prayer rituals. It has an oil reservoir in the center, a shallow yoni shaped burner at the front, a finial at the end and it is mounted on a flared circular foot. The top surface is decorated with incised floral motifs.
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.
During the Ming and Qing dynasties, small fu lion pairs were very popular accessories. As protectors of Buddhism, they are both menacing and friendly and this remarkably fanciful pair of crouching beasts joyously reflects both traits, with floppy ears, smiling open mouthed faces with tongues hanging out, and curled tails versus bushy eyebrows, bulging eyes and long pointed nails. As originally decorations on furniture with flat rear sides, they can stand alone as decorative accessories or even be a great pair of bookends. However they are used, they are guaranteed to bring a smile to those who are fortunate to see them on a regular basis.
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
This fine ancestor figure portrayed as a Chinese official with many indications of his high status. He sits on a backless chair upon a high decorative pedestal upon which his feet rest and . He wears officials attire: a futou cap and high collared red robe with double belt extending to his shoes. He sits in a formal pose with hands on his thighs holding a long slender hu tablet. His facial hairs indicate a mustache and beard, now partially lost, on his gilt colored face.
This unique and dense antique/vintage carving may represent the noted historical figure: the principal regent Dorgon of the first Qing Emperor Shunzhi who ruled from 1643-1650 as a”quasi” emperor based on the four-character inscription that reads “Southern Holy Emperor.” He is presented wearing an impressive and detailed hat and coat holding a hu tablet characteristic of one standing before an emperor.
Finely carved figures were attached to ox cart yokes to protect farmers from malevolent spirits who inhabited all seen and unseen sectors of their environment. This beautifully carved ox cart yolk was created in the image of a chinthe, (the word for lion) a mythical creature commonly represented in Burma to decorate a multiplicity of everyday items. Considered a propitious spiritual and protective guardian figure, the chinthe symbolizes power, courage, and strength. This carving displays the common characteristics of singhas with a long face with large eyes, a long sharp nose, a long draping lion-like beard, and a flame-like shape on the top of his head. He stands on all four legs holding his beard that extends from his open roaring mouth with sharply pointed teeth that combine elegance with strong beast-like strength. He is masterfully carved with careful attention to details like the deeply incised hairs that cover his body. For functional reasons, the piece is in two parts held together with a wooden plug. Even though it was for daily use, Burmese craftsmen created beautiful objects and finished them with the best materials they could afford. This piece was originally covered with lacquer, most of which has faded with use over time. It is in good condition with losses to his left side, fading surface, and wear consistent with its age and use.
Known as the Laughing, Happy, or Fat Buddha, Budai is regarded as a deity of contentment and plenty. Like most Early Chinese Republic porcelains this piece is hand decorated in famille rose enamels with vivid blue, red, and green pigments portrayed as a stout, smiling, bald monk in robes with a large, exposed pot belly surrounded by five children. Since the stomach is considered the seat of the soul in Chinese beliefs, it demonstrates his open heartedness. His wide smile attracts the children surrounding his body indicating his regard for them and his joy when they encircle him and well as the belief he can bequeath families with children.
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