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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 in meditation on a two-tiered backless throne has flowing braids, simple necklace, and voluminous robes indicating 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.
Guanyin is portrayed in this gilt and lacquer carving seated on a lotus with her hands in the lap in meditation mudra atop a decorative footed stand in elegantly draped robes. In this regal form, she wears a 5-lobe crown with a cross hatch design in the center while her hair rests atop her head in a bun encircled within the crown.
With a full face and downcast eyes, she is depicted in modest provincial style with symbols of her bodhisattva status: a 5-lobed diadem, hair in a chignon, braids draping down her shoulders, and a flowing robe. Her pendulous ears are a sign of wisdom, her ability to hear the cries of sentient beings, and her spiritual awakening. It is covered with gilt as a sign of her enlightened status.
The delicately carved antique Guanyin sits in dhyana (meditation) her head bent in serene peacefulness. The unusually large back cavity indicates it was consecrated by a Buddhist monk in an eye-opening ceremony and placed on a home altar. Masterful yet simple, this provincial image brings quiet energy to its surroundings and imparts a sense of serenity and peace.
In this elegant and vibrant carving Guanyin sits in meditation. her beautiful, serene face elegantly carved in contemplation withbud-shaped lips softly set in a welcoming and benign sweet smile wearing a five-lobed crown. She sits on an open lotus with a vertical post at her sides; her sacred vial on her right and a parrot on the left. Antique carved i Guanyin statues with her symbols in this condition are quite wonderful and rare and impart a feeling of serenity to the environment around them.
Statues like this Guanyin in the Mahayana Pure Land Buddhist tradition were especially popular during the Ming and Qing dynasties. This carving epitomizes the best of folk art spiritual traditions of provincial artisans who replaced imperial constructs with provincial depictions that combined Buddhist, Taoist and Popular Religion traditions. Humble, charming and approachable portrayals of Guanyin like this were placed in homes and temples in provincial areas.
This elegant heddle-pulley carved from a single piece of Burmese teak is topped by a hamsa, a goose-like bird and a sacred Buddhist symbol of wisdom mentioned in the Jakata tales about the life of the Buddha. It is believed that auspicious symbolic animal images protected the weaver, assured quality weaving, and pleased the gods and spirits. This antique piece is wonderfully weathered from time and use.
This vibrant image represents the “Heavenly Empress” Mazu wearing a red-tiered outer robe topped with a black scalloped collar bordered with gold and carved in graceful folds. Three ornamental flowers painted on her stomach might reflect the Popular Religion myth that when Mazu’s mother was pregnant, she prayed for a daughter as she already had six sons. In a dream Guanyin gave her a flower blossom to wear, and the next day Mazu was born.
This home devotional image, finely carved in the round, represents Mazu, the most revered Taoist female deity in coastal areas in mainland China, Taiwan and Vietnam. She sits in a traditional deity pose, hands covered by a ritual cloth with a space to hold a hu tablet on a plain armless high back chair. She is a provincial matronly figure, eyes calmly cast down and dressed in humble attire with characteristically small feet, a hanging red sash, and a modest hat with a flat phoenix.
Finely carved from one piece of dense hardwood, this Queen Mother of the West image sits in a traditional pose on a backless throne with a large iconic phoenix on her hat and wearing in a graceful robe with two fingers of her right-hand holding a long sleeve that covers her left hand – common in Taoist deity images. It was brightly painted as seen by her red garments under a lacquered cover that naturally darkened over time from incense and candle offerings. Her carved facial features with pursed lips depict a caring, authoritative matronly figure.
This vibrant large antique statue is Mazu, Protectress of the Seas, reputedly the most important sea goddess of Asia. A significant Taoist deity, she is also venerated in Buddhism, Folk/Popular Religion and Confucianism. Designated the Eternal Mother and the Empress of Heaven she wears a phoenix headdress, elaborate regal robes with gilt appliqué, raised curvilinear designs, glass and mirror insets and intense hues of red, blue, green and yellow to allow those at sea needing aid to see her. She is the patron goddess of Taiwan and included in the UNESCO unintelligible cultural heritage list .
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