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Guandi lived during the latter part of the Han Dynasty and is the best known and most revered Chinese military historical hero. He was canonized in 1504 as Guan Di, the Taoist God of War and China’s Protector. According to Keith Stevens, he is “all things to all men, not only prayed to for protection…
This fine woodcarving is Chou Ts’ang, the aide-de-camp and attendant to Guandi, the most revered and well-known military hero in Chinese history and the Taoist God of War. As an attendant his hands held together and eyes down cast in respect and legs firmly planted on the ground. His protective military clothing and heavy boots presented in detail and the high red and black pedestal with painted gold florals make him a key figure even though the figure of Guandi he attends would have been much larger and important.
Attendant figures are usually presented on an altar in pairs flanking revered figure they honor. This lovely carving is an enlightened being indicated by her pendulous ears, an elevated flowing ribbon, and blissful smile. She traditionally carries offerings which might be food, fruit, medicine, or other unique items. Her extremely pleasing face highlights her modesty as…
This sweet diminutive antique-Chinese-wood-carving of an enlightened Buddhist attendant on a double lotus base that was commissioned by the proud father to celebrate and bless a marriage as indicated by the inscription on the rear 陈门李氏双全 that indicates that it belonged to the Lee family. Although its meaning is not entirely clear, it appears to…
Attendants like this often accompanied Taoist figures on home altars, along with other deities and spiritual images. They frequently presented offerings to them which, when tied with ribbons, symbolized “ longevity for generations”. This 18-19th century carving may have accompanied a significant deity as the statue was covered in gilt and lacquer, some which has naturally darkened from age and from years of incense, age and use.
This small antique brass Nandi is exquisitely handcrafted with a wonderfully aged patina. He sits recumbent on a raised rectangular platform. Delicately incised with decorative details delineating the head, neck, snout and body, his right leg and tail are sinuous, graceful ornaments rather than defining features. His head is at a 45-degree with lyrically curved horns in contrast to most versions with horns extending backwards. This Nandi is based on a South Indian cow whose humpback is emphasized here by two parallel lines covering it as if is part of a saddle or another ornament feature.
Statues of attendants often appear as a pair looking inward and flanking a deity, unless they are very important ones and look straight ahead. They may carry a range of offerings. This antique Chinese woodcarving appears to be a Taoist image likely placed on a home altar along with deities, house gods and ancestors to…
Early Chinese Mahayana images portrayed Lohans as followers of the Buddha, living in the human world in human forms .Through their spirituality and asceticism they achieved enlightenment and were no longer subject to rebirths but choose to not enter nirvana and remain as guardians to preserve Buddhist teachings, protect the Buddhist faith and lead others…
The original 16 or18 arhats in Theravada Buddhism, later called Lohans in Mahayana Buddhism, were the original disciples of Gautama Buddha. Able to attain enlightenment and enter nirvana, instead they remained on earth to aid Buddhist devotees to reach nirvana. Buddhist temples are often lined with 18 lohan but there may be many more. Never…
In China a set of earthenware Zodiac attendant figures was made as a 12 piece grouping, with each figure holding a small calendar animal with each year represented by a different animal – rat, ox, tiger, rabbit, dragon, snake, horse, goat, monkey, rooster, dog, and pig or boar – in a repeating 12-year cycle. Although…
This Nanhai Guanyin sits in her cave home on the island of Putuo represented by pierced openwork, craggy surfaces and open area at the cave top. Guanyin’s image almost fills the cave’s opening seated in dhyana (meditation), thumbs forming a triangle symbolizing the triratna, the Three Gems of Buddhism (the Buddha, the Dharma (Buddha’s teachings)…
Nanhai-Guanyin seated in meditation (dhyana mudra) in her Tidal Cave on Putuo is one of the most popular Mahayana Pure Land Guanyin images, especially during the Ming and Qing dynasties, and strongly reflects the Chinese syncretic blending of religious beliefs. Provincial craftsmen portrayed her in to reflect local beliefs, lifestyles and customs that resonated with…
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