Touched by Indigo - Royal Ontario Museum

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(phoenix penetrating a peony), both symbolizing sexual union and
fertility.
The first and third register are identical in design. They are
arranged in mirror-image fashion. Each consists of a lotus in the
centre flanked by identical groups of motifs. These motifs include
the twin form of the character xi (i.e., shuangxi or double happiness)
framed by two melon-like lanterns with tassels, and a chrysanthemum
flower head. The character shuangxi is an ubiquitous decorative
element in happy events, in particular wedding celebrations.
The melon-shaped lanterns symbolize abundant offspring because a
melon has many seeds. Their tassels (shou) and the chrysanthemum
are both emblematic of long life (shou), a desire further strengthened
by the butterflies adorning all border corners.12
The design of this quilt cover was created in the 1980s. Although
images of dragons have not been incorporated into the composition,
it can still be regarded as one kind of "dragon-and-phoenix" quilt
design. The mirror-image arrangement of the compositional elements
needs some explanation. In certain rural areas in southern Zhejiang
there has been a long-established custom where a married couple,
when they retired to bed, must sleep side by side, but head to foot.
The mirror-image layout was devised to ensure both husband and
wife saw the design on the far side of the quilt cover the way it should
be viewed as soon as they sat up in bed in the morning and be pleasantly
reminded of all the blessings that might come true.
THIS QUILT-COVER TOP is made up of four strips of equal
length, each adorned with four designs. The sixteen designs have
been carefully planned so that although they seem to look alike,
actually they are all different. The illusive effect is created by repeating
certain compositional elements in a calculated way, such as a
uniform number of children depicted in each square, with similar
poses, and similar geometric or floral shapes enclosing them. The
differences lie mainly in the diverse details serving as fillers for each
design.
The overall design typifies the standard decorative format of
the so-called "hundred-boys" quilt (baizi bei). The number "one
hundred" is only a convenient round number meaning abundant.
As a rule, there are images of six children in each individual design,
making a total of only ninetysix
children in the sixteen
designs.13 Here, the boys
are depicted en race and
spread out in a row as if they
are taking their places on a
stage. The two at the centre
of each frame are cast as the
principal players. They wear
a variety of military garb and
assume stances expressive
of strength and might. Long
ribbons around their necks
tied into a big flowery bow
in front of their chests indicate
that they are assuming
the guise of wuzhuangyuan
or distinguished achievers in
the military service exami-
23. TOP OF A QUILT COVER WITH "HUNDRED-BOYS" DESIGN, Cotton, 1940s,
Huangtandong village, Yueqing city, Zhejiang province, Gift of Dr. Ka Bo Tsang in
memory of Mrs. Tsang Ng Sheung, 2004.68.24, L 215.8 cm x W. 173.7cm
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