Lot 38A
East Asia, China, Qing Dynasty, ca. 18th to 19th century CE. A rare and finely carved wooden sculpture of Chou Tsang, the legendary aide-de-camp and sword bearer to Guan Yu (also known as Guan Di, Kwan Ti, or Kuan Kung), the deified Chinese God of War. Carved from a single block of wood and richly embellished with red and gilt lacquer, the figure is captured mid-stride with his left leg forward and his head turned sharply to the left in dutiful vigilance, once likely glancing toward his master. His left hand is raised to hold the now-missing sword, while his right curls at his side, suggesting readiness and discipline. This striking depiction aligns with traditional representations of Chou Tsang, who is often shown in this dynamic pose beside Guan Di and his adopted son, Guan Ping. Chou Tsang's face is rendered in dramatic black pigment - a symbolic and spiritual choice that holds deep Taoist meaning. In Chinese cosmology and the I Ching, black is the color of Heaven, mystery, and the Tao itself. Size: 7.7" L x 11" W x 23" H (19.6 cm x 27.9 cm x 58.4 cm)
Laozi, the great sage of Taoism, advocated: "know the white, keep the black" - an adage reflected in this sculpture's harmonious contrast of dark and light. In Taoist belief, black embodies the Way - hidden, eternal, and vast. Furthermore, ancient Chinese philosophy considered black to be the 'king of colors', evoking Heaven's expanse and the North Star, home of the Heavenly Emperor.
This sculpture also displays evidence of religious consecration. A closed bung cavity remains visible on the figure's back, indicating it was likely ritually imbued with sacred scrolls, incense, or other offerings in a ceremony that animated the figure with spiritual presence. The characteristically stern expression, formidable stance, and flowing, layered garments contribute to the figure's aura of protection and solemnity, anchoring it firmly within temple or shrine tradition. Though his sword is lost, the figure retains extraordinary presence - a sentinel of sacred space and a vessel of cultural reverence.
Historically, carved figural statues held profound cultural and religious significance in China, serving not merely as decoration but as vital conduits for spiritual inspiration, solace, and ancestral veneration. These sacred objects populated homes, clan halls, temples, and public spaces, where altars and shrines honored familial ancestors and a pantheon of deities. The size and opulence of these dedicated spaces reflected a family's standing, with even modest homes featuring altars for expressing Confucian piety through ancestor worship. Wealthier families often dedicated entire rooms to elaborate shrines, housing images and ancestor tablets - inscribed placards acting as spiritual seats for the deceased, sometimes even found in temple halls where monks offered prayers for their well-being in the afterlife.
Central to imbuing these carvings with spiritual potency was the "eye opening ceremony," a consecration ritual performed by a senior priest or monk. This process, involving practices like dotting the eyes with cinnabar, pricking them, or anointing them with liquids, was believed to awaken the statue's senses, enabling it to perceive and respond to devotees' prayers. Before this ritual, a cavity carved into the statue's back was filled with sacred documents, a dated paper script honoring the donors and commemorating the event, prayers, and symbolic items representing inner organs, then sealed. The completed, veiled statue was then solemnly carried to the temple for the complex consecration, a communal event believed to imbue the inert carving with life force (chi or qi) and invite the deity's spirit to reside within. This animated state was believed to persist as long as the cavity remained sealed, making intact statues with their original contents exceptionally rare and deserving of continued reverence.
Provenance: private Los Angeles, California, USA collection, acquired from 1990 - 2005
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#193454
- Condition: Left foot has been professionally reattached with restoration over break lines. Chipping to gilding and lacquer as shown and weathering to surface commensurate with age. Some stable fissures to wood in areas. Otherwise, impressive presentation with good remains of gilding and pigments. Rich patina throughout. Bung is intact in verso.
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