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Burmese ox carts are often decorated with carved teak ornaments attached to the yoke/cart crosspiece with a similar function of protection and guidance as the figurehead prow on a ship. This ornament of a man moving up a hill is probably a Burmese nat that wascinitially brightly painted andnow is mounted on a wood and metal stand.
This wonderful teak carving may be an indigenous Burmese Nat placed atop a large fleur-de-lis shield reflecting British influence. Wearing a local native sarong (longyi) with an attractive border drawn up between his legs, a decorative pointed collar covers his chest and shoulders, his headgear is pointed at each side, the eyes are mother of pearl, and the red-painted lips are what remains of what was likely a fully painted carving.
This offering plate with a stack of five propitious fruits was probably affixed to one of the bed posts for a couple as a wish for male children and longevity. The plate sits on a base draped with a stylized ritual cloth and embellished with carved leaves and holds a pomegranate on top to symbolize fertility and the four peaches below are symbols of longevity.
This delicately carved and elaborate document holder was designed to be mounted on a wall held up by its back panel with sumptuously carved floral cutouts and graceful curvilinear embellishments. It was clearly intended as a wedding gift as it is embellished with a huge assortment of auspicious symbols for newly weds, with wishes for wealth, glory, harmony, unity, fertility, the birth of sons, longevity among others. The scalloped carrier section is covered with with black, red and gilt designs and poems by the very famous Song Dynasty poet Su Shi. This would be a wonderful, unique, and appropriate wedding gift to send the bride and groom off with the best possible wishes.
This vibrant and finely carved wood statue is the old good-natured Earth God Tudi Gong once found in most rural communities throughout China. He is a kind and benevolent god as seen by his good natured features, believed to live in and help residents of small villages, especially for issues relating to agriculture or wealth. As an administrator he sits on a horseshoe chair wearing officials clothes and carries a tael, a gold bar that symbolizes a wish for wealth. With his sweet and unpretentious demeanor, he looks like someone you just like to hang out with. Once in every village and most homes, these charming images have, like all Taoist deity images, become scarce.
This extremely fine Queen Mother of the West wears her ornate headdress centered by her iconic phoenix representing the sun and her authority. She is the patron deity of women, a divine teacher and is closely associated with the cultivation of virtue and immortality. On her holy birthday devotees, especially women, gather in temples for celebration rituals.
Antique Chinese puppets were often made in several parts with removable heads. This antique carved head of a beauty has delicately painted features and an animal hair braided down the back. Since there is an area without hair towards the back, she likely originally wore a hat or headdress. A hole on top probably accommodated strings.
This 19th-century miniature wood figure is a finely and whimsically carved portly seated merchant. He is depicted as a Laowai or “old foreigner” with a westernized face and hat and oversized hands placed on his knees. Seated on a platform base, he wears garments reflective of the Chinese culture at this time but wears a hat that is clearly not of Chinese origin. Other indications this charming figure is a foreigner include the roundness of his face, western facial features and oversized hands.
This beautifully carved God of Wealth (Caishen) is portrayed as are all Taoist deities as an authoritative figure, right hand firmly placed on his knee and left hand holding a tael. His outer robe has decorative borders down the front and carved coins at the shoulders, stomach, and an undergarment is gathered with a floral designed tasseled cord. His well-defined face with incised wrinkles and long beard has a benevolent expression with rounded cheeks and an open mouth, topped by an elaborate official’s hat with ribbon-like extensions. Very fittingly, it is painted with red and gold both associated with wealth.
This remarkable and enchanting figurine is Guanyin on her mythical mount, the Hǒu the guardian master of the universe and model for righteousness and morality who symbolizes bringing forth peace and prosperity.The round orb in its mouth representing a pearl can be rubbed for good luck. It is one of our most unique and favorite Buddhist statues, mounted on a frosted acrylic stand.
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 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.
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