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Taoist God of Wealth (Caishen) portrayed as benevolent authoritative figure associated with wealth: holds tael, robe with coin decorations, painted with red and gold.
Temples for “Heavenly Empress” Mazu in southern China coastal regions protect sea faring peoples. This motherly home altar statue reflects that although childless, she protects her children – her devotees – as a mother. Seated on lucite base.
Small consecrated home altar provincial Mazu, finely carved on armless back chair dressed modestly in peasant robes with a phoenix in her hat, she is motherly figure who protects her devotees as her children.
Small mage of Queen Mother carved by provisional artisan depicts her as humble and matronly with iconic phoenix on headdress for placement on a home altar. Cavity with original sealed bung indicates it was consecrated.
This fine pair of the Kitchen God and his wife are mirror-images of each other seated on backless chairs with multi-sided pedestals and reflect the reverence and solemnity of their responsibility to live above the stove and protect the home. The original lacquer has darkened naturally over time and from exposure to candle and incense smoke leaving a soft patina. The cavity on the male has its original covering while the one on the female is missing, exposing contents inside – a string tied around the script placed by a monk when it was consecrated. Kitchen Gods radiate warmth, especially when placed near the stove and make unique house warming or wedding gifts and add positive chi to any household.
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. On Chinese New Year Zao Shen reports to the Jade Emperor in Heaven and a positive report bringsblessings and good fortune, while and unfavorable one brings misfortune. Family members often smear honey on his mouth to sweeten the report. Near mirror images they wear layered gold officials’ robes with decorative sashes and symbolically hold a hu tablet. They are in excellent condition and add positive chi and enhance feng shui. Kitchen Gods especially pairs are now rare and very collectible and make unique wedding and house gifts.
This husband and wife Kitchen Gods are near mirror images with similar layered gold officials’ robes clasped hands covered in ritual cloth. They portray house gods whose future of families are in their hands. They are in excellent condition with fine patinas and both have been consecrated with the consecration script remaining in the wife’s cavity but not in the male’s cavity.
This brass oil lamp diya is decorated with an image on front and back of Lakshmi seated on a lotus, full-breasted and broad hipped, beneficently smiling and being lustrated (showered by water) by elephants, symbolizing rain clouds bringing water and life to the land and that unwavering effort to adhere to spiritual teachings and governed by wisdom and purity leads to both material and spiritual prosperity.
Seated imperiously on a horseshoe chair with carved title “Holy Mother in Heaven,” Mazu is depicted in the imperial style, with a regal flat topped headdress, elaborate robes with dragons, official’s girdle in red and gilt. In excellent condition after years of use.
Mazu, protector of sea, is portrayed as the imperially sanctioned “Empress of Heaven” on an elaborate, horseshoe shaped dragon throne, holding a hu tablet, with elegant dragon robes, official’s girdle, Empress headdress and small feet on gilt fu lion foot rest.
Nanhai Guanyin in her Cave in lalitsana, below draped moss arch holding a scrolls, next to vial of humanity’s tears and parrot, her constant companion. Small Nanhai images with these symbols are very rare.
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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