Showing 73–84 of 219 results
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…
This Mazu, the protector of sea farers, is portrayed as the imperially sanctioned “Empress of Heaven” seated on an elaborate horseshoe shaped dragon throne, hands clasped symbolically holding a hu tablet, adorned with elegant dragon robes, an official’s girdle, a flat-topped Empress headdress and small feet resting on a pair of gilt fu lions. Meant to be seen from all sides this beautiful carving is decorated on front and back.
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,…
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 excellently carved civilian official with gilt highlights was commissioned by a family to place on a home altar for veneration and to impress those who viewed it. The imposing ancestor figure grasps his belt of office to show his pride in passing examinations to become a civil official, which leads to a life of rank and prosperity for him and his family. Statues like this are an affirmation of persistence, success, status and power and they honor those who display these characteristics.
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.
This pair of 12-13th century bronze rings was used to hold poles attached a litter bed or chair held on shoulders of carriers, usually to transport people of royal or elite status in Khmer Empire society. The narrow upper body, which is decorated with a lotus motif, was used to hold a bronze hook and the lower body to accommodate the pole. Although possibly made in Cambodia the Khmer Empire’s center, it was found in Lopburi, Thailand, the western most Khmer outpost
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.
This is a really great pair of stone small fu lions with lots of character, humor, and detailed carving. Each of these very joyous creatures has open mouthed smiling faces with radiant eyebrows and tufts below their chins, scalloped manes and bushy tails. Carved from one piece of a blackish hard stone they could easily withstand additional wear of the elements in a garden. Pairs of fu lions like this belong in the home of people who appreciate spirituality and wish for happiness and fortune along with a touch of wit and whimsy.
This Burmese teak heddle pulley is topped by a graceful peacock. The peacock symbolizes wholeness, combining all colors with its spread tail and the fleeting nature of all sentient beings. Drawing on old animistic beliefs, old folk art Burmese heddles are decorated with carvings of mythical or auspicious animals providing the weaver protection and assuring good quality weaving. Mounted on wood base.
This elegant heddle pulley carved from a single piece of Burmese teak is topped by a peacock, which in Buddhism represents the short-lived nature of all things. Borrowing from ancient animistic traditions, it was believed that auspicious symbolic animal images protected the weaver, assured quality weaving, and pleased the gods and spirits. This antique folk piece is wonderfully weathered from time and use.
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