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Designation as civilian Mandarin officials was so significant that families fervently sought to perpetuate this image through generations in carved and painted ancestral renderings, especially ancestor-figures. This civilian official sits in the traditional official’s pose with arms on short armrests in an an ornately carved high back chair, curved backrest, tall legs and vertical slats…
During the Qing Dynasty, reverence for Mandarin officials and their associated high status with it was so significant that families sought to perpetuate this image through the generations in carved and painted renderings of their ancestors. Ancestor-figures were the highest form of filial piety, and ancestor-worship was a cornerstone of Confucianism. Stuart (p. 82) states…
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.
This stylized pair of folk art tigers covered with lacquer and highlighted with black pigment was likely part of a larger item, as there are indentations on top to insert vertical extensions. The tiger is one of many ancient mythical animals, and as the mount of the Taoist god Heavenly Master Zhang Tianshi tiger images,…
This provincial Nanhai Guanyin sits with her palms at her heart in anjali mudra, a mudra of offering rarely used for Nanhai Guanyin. She sits on a two tiered lotus throne on a lotus at the entrance to her Tidal Cave on Putuo under a craggy rock outcrop framed by pierced openwork. Placed on a home altar, her modest presentation reflect local beliefs to resonate with provincial populations.
The origins of Nuo Opera, performed in provincial villages in Southern China since antiquity, is found in spirit and ancestor worship and Taoism. Performances use a few dozen to 200 masks having distinctive facial features, decorations, regional and ethnic individuality and aesthetic diversity. Usually carved from poplar or willow which are light and less likely…
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 carved ancestor figure portrayed as an official sits on a backless chair with a decorative pedestal in official’s attire: a high collared red robe, double belt above and below his ample stomach and holding a long slender curved hu-tablet, all signs of his office and status. He is vibrantly painted in red, the color of fu, as a wish for prosperity and status.
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.
The pair of antique oil lamps was meant to bring good luck and happiness decorated on top with a double lozenge, a diamond shaped symbol is a lucky object that is a protective sign casting out demons and means “many treasures.” The five leaves are plum blossoms, symbols of perseverance and purity, and the Five Blessings or Happinesses – wealth, health, longevity, a peaceful death and the love of virtue As an oil lamp it was used with a wick hanging over the side.
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.
Chinese puppet theatre thrived, educated and entertained people with puppets that usually had detachable heads. A very popular figure, the Queen Mother of the West is the highest ranking female Taoist deities venerated by women as a powerful, independent deity embodying yin (female energy) who they prayed to for health and long life. Her complex elaborate headdress includes a large outstretched tortoise atop her iconic symbol, the phoenix, all flanked by two nagas under an arch bordered with a scale like finish, a truly unique and impressive image. She is mounted on a modern contemporary frosted acrylic base.
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