Qing Sculptures and Carvings

Intricately carved green jade carved vessel with lid. The deep green jade with elephant and ring handles with custom wood base. 12.75 inches tall inclu...

19th century auspicious carved panel story board. Chinese carved wooden panel of one solid piece of carved wood set in a wooden frame. A C...

A Chinese Qing Dynasty period architectural panel from the 19th century, with carved monkeys and red, black and brown lacquer. Created in China during the Qing Dynasty, this wall hanging architectural panel showcases a subtle polychromy mixing red, black and brown tones. Upon closer inspection, one will notice the carved décor, with mythical creatures in the upper section followed by monkeys picking up leaves from a tree and elegant furniture in the lower section. Comprising of an ornate hook to hang on a wall, this Qing Dynasty 19th century carved panel...

A wonderful set of four 19th century wood carvings each featuring two scholars in a garden pavilion. A combination of relief carving and pierced carving techniques are used in these ...

A Chinese Qing Dynasty period stone temple pedestal from the 19th century with hand-carved motifs. Created in China during the Qing Dynasty, this temple pedestal features a linear si...

Antique pair of Chinese 18th century Qing dynasty openwork wood carving Gilded screen work wall hanging architectural elements. This pair of Chinese pan...

Rare snuff bottle form. China, a carved cream colored snuff bottle of a jumping fish - a significant bottle ornament with a light brown calcified color...

A 19th century Chinese standing priestess sculpture made from terracotta during the later stages of the Qing dynasty with traces of original paint. This small hollow statue displays ...

The finely carved full length figure of 'The Goddess of Compassion, Kindness & Mercy' shown attired in flowing robes, her hair worn in high chignon with her face effecting a serene a...

A Chinese Shanxi carved wooden corbel from the mid 19th century, mounted on a base and depicting two deities. Born in the Northern Province of Shanxi during the 1840s, this exquisite wooden corbel demonstrates the undeniable skill Chinese artists possessed at the time. Presenting two deities (possibly Zhong...

A late Qing Dynasty period giltwood architectural panel on red ground, with floral motifs, set in new frame. Delve into the rich tapestry of the late Qing Dynasty period with this gi...

A large and powerfully cast Chinese bronze censer in the form of two Buddhistic lions, Qing dynasty, late 19th century. The censer is well cast with a strong sense of movement, featuring a pair of fierce Buddhistic lions playfully antagonizing each other. Locked in a mock battle, the smaller lion...

Interesting element probably coming from a lacquered and gilded wood furniture or panel representing a tripod - shaped vase with curved legs with...

China, an authentic antique hand-carved and hand-painted limestone temple figure of the venerable lohan, Kasyapa. This beautiful Buddhist sculpture will bring serenity and timeless style to your home, office, sacred space, or garden Substantial dimensions: 35 inches high and 12 inches wide Handmade and hand-carved, solid limestone with weathered remnants of older temple paint as applied by the temple from where it originally came, Chengdu, China. Head and hands are later replacements. Stone statues like these were regularly - refreshed- by the temple monks. In our extensive travels to western china we saw many instances of old stone figures like this with varying degrees of paint refreshing, ,replacement of heads as this one, and periodic refreshment by the temple monks to maintain a seemingly new appearance. Please note the offering cavity on his back side- undoubtedly used by patrons to place offering scripts or perhaps food as a sign of respect and veneration. This enjoyable character would make a fine garden presentation or special indoor choice. Only one. Provenance: Originally from a collector in Chengdu, China, acquired by us directly from this collection around 2002 on one of our many visits to that part of historic China. About Kasyapa: Kasyapa is a revered Vedic sage of Hinduism. He was one of the seven ancient sages considered as Saptarishis in Sanskrit texts and Indian mythologies. He is the most ancient rishi listed in the colophon verse in the Brihadaranyaka Upanishad and called a self-made scholar in the Atharvaveda. He was based in the northwestern part of the Indian subcontinent, and legends attribute the region of Kashmir to be derived from his name. One of the more frequently depicted lohans in Chinese sculpture is Kasyapa, a cousin to the Buddha. Throughout Six dynasties...

In Indian Buddhism, Avalokiteshvara is a male Bodhisattva, however in Chinese Buddhism he takes the form of the female Bodhisattva, Guanyin - ‘The One Who Hears the Cries of the Worl...

An antique lacquered hard wood figure of a reclining immortal. He is resting on a basket and with a miniature fisherman presenting him a large fish. The figures are disproportionate ...

Unique hand-carved jade flying eagle bird with 18 karat gold jewelry This is an authentic Chinese "Flying Eagle Bird” jade pendant expertly fashioned...

A stunning pair of excellent quality bronze Pixiu wealth dragon mythical creatures with visually striking scattered verdigris bluish green patina! Well known in Chinese culture and...

Superb old Taoist statue in polychrome and gold lacquered wood, representing a Dignitary seated on a throne, armchair. It is carved from solid wood, with...

This beautiful sculpture realized in China in the 18th century depicts Guanyin, a Bodhisattva associated with compassion. The female form holds a pot in her hands. She appears draped...

A wonderful Chinese bamboo figural carving featuring the Taoist immortal twins of eternal youth, known as the HeHe ErXian, Qing dynasty, 19th century. F...

Hard to Find Pair (2) Display Pedestals from the 19th Century From China's Qing dynasty (1644-1912) a hard to find pair (2) of limestone finely carved pedestals - perfect for displaying your indoor or outdoor favorite pots of plants or sculptural works of art. They are weather tough. This handsome antique pair feature sacred censers deeply carved on all four (4) sides of each pedestal and prolific ornamental lotus petal top...

Rare find Impressive wall display of two (2) Chinese dream stone "Landscape Paintings" with original period frames these wonderful round natura...

Rare and Hard To Find 19th Century From China's Qing dynasty (1644-1912) a hard to find solid limestone finely carved square footed pedestal - perfect for displaying your indoor or ...

A magnificent Qing Dynasty (1636-1912) architectural ancestral shrine. 19th century, China, exceptionally executed in traditional ancient Chinese architecture timber-frame temple hall form, exquisitely hand-crafted and heavily carved with intricate details on the sloped roof and throughout the frame, elaborately decorated layered front with Dougong interlocking wooden brackets over ornate relief carvings and latticework, partial raised gallery fenced entry, retaining some signs of faded gilt decor and lacquer throughout the structure. Large architectural model ancestor shrines were important religious items throughout Asian countries. Red wax export seal on the roof indicates it's authentic and was legally exported. Dimensions: (approx) 55" Tall, 37.5" Wide, 26" Deep; Visible Interior/Altar: 25" x 25" x 10" Provenance / Acquisition: A private Gentleman's Dallas, Texas fine art and antiques collection Acquired from Dallas Auction Gallery, Dallas, Texas. Owned and curated by Reyne Hirsch, a media personality and expert in 20th century decorative arts. She's was a top appraiser for Antiques Roadshow...

To keep her elaborate hairstyle intact while sleeping, a well-to-do Qing-dynasty woman once used this ceramic headrest as a pillow. The headrest is shaped as a crouching house cat, w...

A rare and visually striking early Republic Era (1912-1949) Chinese finely carved lacquered and gilded wood large mirrored table pedestal. circa 1920 Showcasing high-quality workmanship and excellent attention to detail, crafted in the early 20th century, almost certainly in the Chaozhou region of Southern China. Hand carved solid Huanghuali hardwood in the original red and gold lacquer parcel gilt finish; three-piece design for easy moving or storage, surmounted with a circular mirror plate mounted in a round wooden frame adorned in ornate relief decoration, resting atop a tapering fitted intricately detailed hand carved, pierced, and incised fiolated interlaced sculptural openwork panel, the artistic scence depicting four traditional ancient Chinese Scholar figures climbing the elaborate structure, rising atop a reticulated stepped rectangular shaped base with canted corners, pierced foliate raised gallery, and molded skirt with scalloped edge embellished on all sides with floral acanthus scroll and dragon mask relief work, further rising on four squared tapering legs terminating in bullet feet accented with carvings. PROVENANCE / ACQUISITION: Acquired from the reputable auction house, Dallas Auction Gallery, Dallas Design District, Texas. October 2024, Asian Fine Art & Antiques Sale...

Unique garden accents This delightful round hand-carved stone in the form of an old "cash coin" with its square hole and dates to the 19th century. This was likely a mill stone for ...

This unusual object is an early 20th century opium pipe bowl, beautifully sculpted of ceramic to a hexagonal disc form and fitted with a white brass collar. The top of the bowl is de...

This petite footed basin carved of solid limestone was likely once used in the courtyard of a wealthy Qing-dynasty home. Unusual decorative elements elevate...

An integral part of traditional Chinese home life, ancestor worship before a domestic altar often featured painted ancestral portraits or tabletop ance...

Remarkable pair of Chinese glazed ceramic celestial Buddhist Guanyin deities. Featuring two beauties depicted standing in draped robes with casc...

Chinese "Wavy" Mountains Stone Marble Painting Landscape Screen With Original Black wood Display Stand Signed lower right. Impressive work of art with original wooden display stan...

A pair of ceramic lions with yellow glaze. Originally crafted as roof ornaments for traditional Chinese houses, dating approximately to the Qing period. These lions rest freely on n...

A wonderful work complete with a unique wood-carved and hand-painted face and original textile garment. From a group of 7 Chinese opera puppets, we acquired from a collector. Each puppet shows clear signs of previous stage use. Likely from the early 1900s. Would make for a great addition to any Chinese artifacts...

19th century bronze bust of Buddha on the original hand carved custom base. The pleasing proportions, subtle smile, and tranquil eyes of this bust of Buddha make it a beautiful examp...

Description: A fine depiction of Guanyin, possessing the regal tranquillity that the Chinese Bodhisattva of compassion has come to be visually associated with. Marked by an urna signifying her spiritual enlightenment and crowned with a diadem depicting the Buddha Amitabha, the figure is immediately recognisable as Guanyin. Her androgynous figure is gracefully poised in the Lalit asana or “royal ease”, the pose classical in representations of the deity. The figure is asymmetric, with the weight of her supple form falling upon her left hand placed against the base, her right knee raised and left pendant. Her right hand rests upon her raised knee, delicately pinching at her draped attire. At first unassuming, this gesture may be suggestive of the Apana Mudra, the seal of purification. This Mudra is associated with physical wellbeing, fecundity and the cleansing of the body. Though she is adorned in the princely garb of dhoti, she bears features of idealised feminine beauty as prescribed in Asian art. With plump cheeks and near pouted lips, her full face gazes down upon the viewer with an empathetic and half-lidded gaze, upholding her title as ‘One who hears the cries of the world.’ Notes on the item: Guanyin is the Chinese interpretation of Avalokiteshvara, the Indian Bodhisattva of compassion. The term “Bodhisattva” is derived from the Sanskrit “Bodhi”, meaning ‘awakening’ or ‘enlightenment’, combined with “Sattva”, meaning ‘spirit’ or ‘being’, referring to one on the path to achieving enlightenment. Bodhisattvas in Mayahana Buddhism are recognised as figures who have effectively achieved enlightenment yet relinquish their accension to nirvana in order to remain amongst mankind in the ultimate act of compassion to aid as spiritual guides. As such, the Bodhisattva inhabit a liminal space between samsara and nirvana; enlightened beings that maintain a relationship with humanity that buddhas cannot, as attaining Buddhahood necessitates the abandonment of all worldly attachments, including mankind. Guanyin’s very name, ‘One who hears the cries of the world’ highlights this role as a compassionate figure who acknowledges the suffering and strife of man. Along with Mahāsthāmaprāpta, a fellow bodhisattva, Guanyin serves as an attendant to Buddha Amitabha, with these three deities recognised as the Three Sages of Western Pure Land Buddhism, a sect of Mayahana Buddhism popular in East Asia. Avalokiteshvara is commonly posited to have been adopted from Indian Buddhism into China as Guanyin around 200-400 CE, however it was the Tang dynasty (618-907) which saw the popularisation of the deity. By the Ming (1358–1644) and Qing (1644–1911) dynasties, Guanyin held the position as the most popular female deity in China. The unique state of religion in China held no monolithic canon regarding Buddhism and saw the assimilation of several belief systems, primarily Daoism, Buddhism and Confucianism. Consequently, Guanyin became a deity to be revered beyond Buddhism alone, appointed as both an official imperial deity and Daoist deity in the 12th century. Guanyin may also be seen to fulfil the role of idealised femininity as prescribed by Confucianism, with the scarcity of female Chinese deities perhaps accounting for the gradual gender shift Guanyin underwent. The Indian Avalokiteshvara is unequivocally recognised as male, whilst the supposed gender of Guanyin remains contentious. Although there is a clear shift from the masculine Avalokiteshvara towards a more feminine representation, it is unclear if Guanyin is understood to be entirely feminine, to inhabit qualities of both genders or to be elevated beyond gender entirely, embodying neither. Depictions of Guanyin are highly androgynous, which some believe lends credence towards Guanyin symbolising the unity of dualistic forces as recognised in Daoism, displaying the anthropomorphism of yin and yang. Comparative Analysis: Market comparisons of similar Qing Dynasty polychrome figures of Guanyin include lot 767 (no.2) From Christies ‘Important Chinese Ceramics and Works of Art,’ New York, 25 March 2022, with the price realised USD 52,920 (Estimate USD 20,000 – USD 30,000). Christies also auctioned a comparable polychrome Guanyin...

A wonderful work complete with a unique wood-carved and hand-painted face and original textile garment. From a group of 7 Chinese opera puppets, we acquired from a collector. Each puppet shows clear signs of previous stage use. Likely from the early 1900s. Would make for a great addition to any Chinese artifacts...

A fine quality antique Chinese late Qing boxwood carved figure of an Immortal holding a child and dating from around 1900. The figure, an elderly man, is dressed in a full length rob...

One of a kind antique bamboo incense tube in the style of the Qing- Dynasty with intricately carved scene of huts, rocks and men who seem to bring items from the river, load small ba...

Description: A singular example of Guanyin. Deviating from the Bodhisattva’s conventional pose of ‘royal ease’, the figure is instead seated in the meditative padmasana, or ‘lotus position’, rendering this Guanyin something of a rarity. An Apana more typically associated with depictions of Buddhas, Guanyin assuming this pose immediately signifies this figure as one of particular spiritual reverence. Both feet are revealed crossed upon one another from beneath fabric which spills before her, her left palm turned upward with her hand resting upon her left knee and her right raised in a relaxed gesture. Adorned with a diadem housing a depiction of Amitabha Buddha, her own spiritual guide, she exudes an air of tranquil regality, further characterised by her numerous strings of beads and elaborately fastened dhoti, attire traditionally reserved for Indian princes. Though the figure’s dress is Indian her face is undoubtedly exemplifying artistic Chinese beauty standards. Her face is soft and rounded, full in both the lips and cheeks, with eyes that restfully peer down, as though she is watching over the worries of mankind with compassion. Notes on the item: Guanyin is the Chinese interpretation of Avalokiteshvara, the Indian Bodhisattva of compassion. The term “Bodhisattva” is derived from the Sanskrit “Bodhi”, meaning ‘awakening’ or ‘enlightenment’, combined with “Sattva”, meaning ‘spirit’ or ‘being’, referring to one on the path to achieving enlightenment. Bodhisattvas in Mayahana Buddhism are recognised as figures who have effectively achieved enlightenment yet relinquish their accension to nirvana in order to remain amongst mankind in the ultimate act of compassion to aid as spiritual guides. As such, the Bodhisattva inhabit a liminal space between samsara and nirvana; enlightened beings that maintain a relationship with humanity that buddhas cannot, as attaining Buddhahood necessitates the abandonment of all worldly attachments, including mankind. Guanyin’s very name, ‘One who hears the cries of the world’ highlights this role as a compassionate figure who acknowledges the suffering and strife of man. Along with Mahāsthāmaprāpta, a fellow bodhisattva, Guanyin serves as an attendant to Buddha Amitabha, with these three deities recognised as the Three Sages of Western Pure Land Buddhism, a sect of Mayahana Buddhism popular in East Asia. Avalokiteshvara is commonly posited to have been adopted from Indian Buddhism into China as Guanyin around 200-400 CE, however it was the Tang dynasty (618-907) which saw the popularisation of the deity. By the Ming (1358–1644) and Qing (1644–1911) dynasties, Guanyin held the position as the most popular female deity in China. The unique state of religion in China held no monolithic canon regarding Buddhism and saw the assimilation of several belief systems, primarily Daoism, Buddhism and Confucianism. Consequently, Guanyin became a deity to be revered beyond Buddhism alone, appointed as both an official imperial deity and Daoist deity in the 12th century. Guanyin may also be seen to fulfil the role of idealised femininity as prescribed by Confucianism, with the scarcity of female Chinese deities perhaps accounting for the gradual gender shift Guanyin underwent. The Indian Avalokiteshvara is unequivocally recognised as male, whilst the supposed gender of Guanyin remains contentious. Although there is a clear shift from the masculine Avalokiteshvara towards a more feminine representation, it is unclear if Guanyin is understood to be entirely feminine, to inhabit qualities of both genders or to be elevated beyond gender entirely, embodying neither. Depictions of Guanyin are highly androgynous, which some believe lends credence towards Guanyin symbolising the unity of dualistic forces as recognised in Daoism, displaying the anthropomorphism of yin and yang. Comparative Analysis: Market comparisons of similar Qing Dynasty polychrome figures of Guanyin include lot 767 (no.2) From Christies ‘Important Chinese Ceramics and Works of Art,’ New York, 25 March 2022, with the price realised USD 52,920 (Estimate USD 20,000 – USD 30,000). Christies also auctioned a comparable polychrome Guanyin...

Bamboo and wooden slips - jiandú- were the main media for writing documents in China before the widespread introduction of paper during the first two centuries AD. This substantial group, 98 pieces, of one-of-a-kind slips with painted hand calligraphy appeals to book lovers and antiquity sleuths We believe them to be circa 1900 , Qing dynasty and are offering this group from a collection of old works of art. Dimensions: bamboo slips...

A wonderful vintage to near antique Chinese nephrite jade carving of Damo (Bodhidharma), with an associated carved hardwood stand, early to mid 20th century, possibly Republic Period...

An impressive depiction of Guanyin, the Bodhisattva of compassion, whose name bears the meaning ‘One who hears the cries of the world.’ The rather androgynous figure is adorned with beaded jewellery and the princely regalia of a dhoti, draped across her body and spilling out over to partially obscure what she is resting upon. The goddess’ profile exhibits idealised features of Asian artistic convention; her face is soft and rounded, with full lips and relaxed eyes that provide a serene quality of youthfulness to the figure. Adhering to Chinese iconography of Guanyin, the figure is marked by an urna on her forehead, denoting her own enlightenment, as well as a diadem displaying Buddha Amitabha, the spiritual teacher of Guanyin. Seated in the Lalit asana pose, translated as ‘royal ease’, the figure exudes a fine example of the relaxed majesty typical in the characterisation of Guanyin. Whilst the figure’s left hand is placed restfully upon the left leg pendant, the right is raised in the gesture shuni mudra, the second finger held gently against the thumb. Otherwise known as the seal of patience, this gesture indicates the figure as one intended to bestow this virtue, along with compassion and understanding, upon the beholder. Notes on the item: Guanyin is the Chinese interpretation of Avalokiteshvara, the Indian Bodhisattva of compassion. The term “Bodhisattva” is derived from the Sanskrit “Bodhi”, meaning ‘awakening’ or ‘enlightenment’, combined with “Sattva”, meaning ‘spirit’ or ‘being’, referring to one on the path to achieving enlightenment. Bodhisattvas in Mayahana Buddhism are recognised as figures who have effectively achieved enlightenment yet relinquish their accension to nirvana in order to remain amongst mankind in the ultimate act of compassion to aid as spiritual guides. As such, the Bodhisattva inhabit a liminal space between samsara and nirvana; enlightened beings that maintain a relationship with humanity that buddhas cannot, as attaining Buddhahood necessitates the abandonment of all worldly attachments, including mankind. Guanyin’s very name, ‘One who hears the cries of the world’ highlights this role as a compassionate figure who acknowledges the suffering and strife of man. Along with Mahāsthāmaprāpta, a fellow bodhisattva, Guanyin serves as an attendant to Buddha Amitabha, with these three deities recognised as the Three Sages of Western Pure Land Buddhism, a sect of Mayahana Buddhism popular in East Asia. Avalokiteshvara is commonly posited to have been adopted from Indian Buddhism into China as Guanyin around 200-400 CE, however it was the Tang dynasty (618-907) which saw the popularisation of the deity. By the Ming (1358–1644) and Qing (1644–1911) dynasties, Guanyin held the position as the most popular female deity in China. The unique state of religion in China held no monolithic canon regarding Buddhism and saw the assimilation of several belief systems, primarily Daoism, Buddhism and Confucianism. Consequently, Guanyin became a deity to be revered beyond Buddhism alone, appointed as both an official imperial deity and Daoist deity in the 12th century. Guanyin may also be seen to fulfil the role of idealised femininity as prescribed by Confucianism, with the scarcity of female Chinese deities perhaps accounting for the gradual gender shift Guanyin underwent. The Indian Avalokiteshvara is unequivocally recognised as male, whilst the supposed gender of Guanyin remains contentious. Although there is a clear shift from the masculine Avalokiteshvara towards a more feminine representation, it is unclear if Guanyin is understood to be entirely feminine, to inhabit qualities of both genders or to be elevated beyond gender entirely, embodying neither. Depictions of Guanyin are highly androgynous, which some believe lends credence towards Guanyin symbolising the unity of dualistic forces as recognised in Daoism, displaying the anthropomorphism of yin and yang. Comparative Analysis: Market comparisons of similar Qing Dynasty polychrome figures of Guanyin include lot 767 (no.2) From Christies ‘Important Chinese Ceramics and Works of Art,’ New York, 25 March 2022, with the price realised USD 52,920 (Estimate USD 20,000 – USD 30,000). Christies also auctioned a comparable polychrome Guanyin...

Rare and Hard To Find 19th Century From China's Qing dynasty (1644-1912) a hard to find solid limestone finely carved round top pedestal - perfect for displaying your indoor or outd...

An unusually large vintage Chinese carved and pierced gilt wood story panel, early to mid 20th century, Southern China. The intricately carved panel depicts images from "The Romance...

Chinese antique Daoist sculpture of the "Emperor of the North Pole", Hsuanwu or Hsuan Tien Shangti, Qing dynasty (1644-1911), hand-carved and painted...

This is an authentic Chinese old jade bi disc from Northwestern China from the Qing dynasty or older. It comes from our private collection. It inc...

Vintage hand carved brown / amber jadeite dragon amulet - China - mid / late 20th century. Excellent vintage condition - no loss - no damage - no res...

Antique Chinese ROC period early 20th Century hand carved serpentine stone covered bottle vase, finely plotted and carved with a high relief stylized dragon wrapped around the should...

Tea drinking has been an integral part of Chinese culture for centuries, resulting in a wide range of social customs and material traditions. In addition to tea leaves, water, and he...

Tea drinking has been an integral part of Chinese culture for centuries, resulting in a wide range of social customs and material traditions. In addition to tea leaves, water, and heat, the art of drinking tea (chayi) calls for a variety of teaware and utensils - both practical and decorative. This charming teapot dates to the late Qing dynasty and is hand-carved from a hollow length of bamboo in the shape of a ripe pomegranate. The handle is carved to resemble a thin branch, which forks to either side of the teapot bearing long, slender leaves. The teapot has a squat, rounded form and a dark brown finish, reminiscent of Yixing red clay teapots...

JADE RUYI Dark green jade finely and naturalistically carved in openwork along the arched shaft of characteristic S- form, The upper surface of the handle c...

A fine antique Chinese hand carved jade brush wash, in ruyi head form, sides flanked by 2 climbing hydras, and bottom carved with three raised circles fee...

These hand-carved wooden fragments originated as decorative elements of ornate Qing-dynasty furniture or architecture. Colored by red lacquer and gilt pigments, each fragment is carv...

Antique Chinese Niddy-Noddy. A wood skein reel, simple three-part construction, composed of a central handle with middle hand grip worn smooth squared ends with relief sectional carv...

Instant display and collection, one of a kind. From western China and collected some 20 years ago, comes this group of two (2) large hand carved red sandstone Lohans or Monks datin...

China, In commemoration of the year of the rabbit- we are proud to offer these rare carvings. A finely carved pair (2) of antique celadon jade crouching rabbits. These handsome ja...