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This delicate antique carving is Nanhai Guanyin of the South Sea, a popular manifestation of her created during the Ming and Qing Dynasties. The Ming saw a revival of Buddhism…
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 sitting in meditation. She wears an ornate high blue crown centered with an Amitabha Buddha in a deep arched border topped by flat lotus leaves. This remarkable Nanhai Guanyin is extremely rare, unique and difficult to interpret as it is so rare and unusual. We have never seen a Guanyin in her cave at Putuo surrounded by with two pairs of attendants that include her acolytes Shan Tsai and the Dragon Princess Longnu and a seated Taoist official/priest or possible the donor at the apex. This was likely commissioned by a very wealthy donor who wished to make a spiritual statement while also emphasizing his reverence and status.
Nanhai Guanyin sits in meditation on a pedestal framed by a large mandorla with her two acolytes (one deteriorated) with a benign expression with half-closed eyes, pursed smiling lips, pendulous ears, and a crown with an image of Buddha Amitabha. Most Buddhist carvings suffered severe damage during China’s modernization and antique Guanyin images with her attendants are very rare.
H: 9.25” W: 5.75” D: 2.25” | FREE SHIPPING WITHIN CONTINENTAL U.S.!
This antique Chinese wood hand-carved mask was used in Nuo Operas mask in Southern China She is a smiling woman with a slender face, delicate features and hair in a topknot. She is a zhengshen, a friendly female deity (shen) with a kind, honest nature and a gentle disposition and a symbol of the power of good capable of defeating evil. Most Nuo masks are brightly painted, but the age and heavy use of this one has resulted in paint losses. Different colored bases under the reddish-brown indicate it was repainted and reused a number of times. The bright red lips have faded and areas around the eyes, mouth, nose and hair reveal what may be an original first layer of white gesso. Mask enthusiasts will appreciate the resulting paint and lacquer layers which tell the story of this mask’s colorful history, and, yes, the pun is intended. In very good condition for its age and use and for its journey surviving China’s modernization, masks like these were initially considered ethnic folk art offerings to the gods.
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.
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 excellently carved civilian official with gilt highlights was commissioned by a family to place on a home altar for veneration and to impress those who viewed it. The imposing ancestor figure grasps his belt of office to show his pride in passing examinations to become a civil official, which leads to a life of rank and prosperity for him and his family. Statues like this are an affirmation of persistence, success, status and power and they honor those who display these characteristics.
Perfect for placement on an enterprising individual’s desk, this 18th century carving of an ancestor figure as an official was meant to honor the effort, achievement and status accorded to high officials during the Qing dynasty. Seated on a backless chair he wears official’s attire and proudly holds up his belt of office emphasizing his status and achievements. Likely placed on a home altar, the carved inscription on the back indicates it was probably consecrated by a monk or Taoist priest.
This unique pair of attendants was likely placed on a home altar flanking and looking slightly inward to a Buddhist or Taoist figure or deity. Standing on circular pedestals, they smile slightly with down cast eyes presenting boxed offerings. One box has ribbons symbolizing the object’s miraculous powers and a wish for longevity. Rare to find pairs of charming figurines, they look even better on custom frosted Acrylic stands.
A palanquin is a wicker or light wood human-powered mode of transport once used in Asia to carry people, usually for a royal or single person of elite status in…
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