Lot 717

Chinese Carved Wood Figure of Zhou Cang, Qing Dynasty

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Lot 717
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Chinese Carved Wood Figure of Zhou Cang, Qing Dynasty
Chinese Carved Wood Figure of Zhou Cang, Qing Dynasty
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Chinese Carved Wood Figure of Zhou Cang, Qing Dynasty

Estimate: $700 - $1,050

Starting Bid: $300

(0 Bids)
by Artemis Fine Arts
July 30, 2026 8:00 AM MDT
Live Auction
686 S. Taylor Avenue
Suite 108
Louisville, CO, US 80027

East Asia, China, Qing Dynasty, ca. 18th to 19th century CE. A carved wood sculpture of Zhou Cang, the sword-bearing attendant to Guan Yu (Guan Di), the deified God of War, carved from a single block of wood with red and gilt lacquer. The figure is shown mid-stride with the left leg forward and head turned sharply left, the left hand raised to hold a now-missing sword, the right curled at the side; the face rendered in black pigment. This pose and attendant role are consistent with traditional representations of Zhou Cang, typically shown alongside Guan Di and his adopted son, Guan Ping. 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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Item # 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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