Touched by Indigo - Royal Ontario Museum

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1 28 by chrysanthemums lived to a grand old age. The prunus acquires its symbolic longevity meaning because of a play on words. Its name, me/', is homophonous with another word that means eyebrows (me/). Since bushy eyebrows constitute a sign of old age, the image of a prunus may be interpreted in this sense. Although the turtle's carapace pattern is regular, a number of devices have been employed to make the overall pattern interesting. The framework, for instance, is made up of three rows of tiny dots for the long sides of the octagons and two rows of dots for the adjoining squares. This subtle variation in elements of the design is also evident in the images of the chrysanthemum flower heads. Close examination reveals that there are actually several variant forms. As well, the solid dark background colour within each octagon is also relied on to set off the delicate jewel-like flower heads as well as the seeming diamond-studded frames. THIS PAIR OF GIRL'S TROUSERS is constructed for loose fitting. The wide waistband enables the wearer to step into and out of the trousers easily. When worn, the surplus cloth of the waistband would be folded across the body and secured in place with a cord. The edge of the waistband above the tied cord would then be folded down and tucked in to ensure that the cord does not slide out of place.14 The use of a wide waistband and cord also allows the wearer to adjust the trousers to her comfort at any time, for example, before and after meals, and in poor or good health when the waistline would likely change. Furthermore, this flexibility makes it possible for a family of several children of close ages to share the use of the trousers or, if their ages are far apart, to pass it down from the elder to the younger. The loose-fitting trouser legs and the ample crotch area are also designed for comfort. These trousers would fit many different figures. As well, the loose fit makes the trousers much more comfortable in hot weather: the material does not adhere to perspiring legs and the refreshing cool air from any breeze can be delightfully felt. The material used for this pair of trousers is indigo-dyed cotton tabby. It has a reserve design in white consisting of stenciled repeat pattern of birds and butterflies interlacing on a ground filled with endless knots and sprays of roses, bamboo, and chrysanthemums. This array of motifs is embedded with three auspicious wishes. The bird implies the idea of high official rank (jue) because one of its general names, c/ue, is phonetically close enough to jue to permit it to serve as a pun to evoke this connotation. The chrysanthemum and endless knot are standard symbols of longevity. The butterfly (die), too, is often enlisted as a visual pun for a word having the same sound but meaning an elderly person having reached ninety years of age (die). As for the rose and bamboo, together they summon to mind the common saying yueyue ping'an (be safe and sound every month) or siji ping'an (be safe and sound throughout the four seasons). These similar interpretations are derived from the fact that the rose is called yueji (literally meaning "months and seasons"), so named on account of its long flowering characteristic. The bamboo, too, imparts the meaning of safety because in ancient times people cut bamboo stems in small sections and threw them into the fire to make cracking noises, believing that by doing so, evil spirits would be scared away and peace and safety would be guaranteed. 28. GIRL'S TROUSERS, Cotton, Qing dynasty, late 19th century, Zhejiang province, Gift of Toronto Diocesan Anglican Church, Women, 971.166.45, L 83 cm x W. 106cm 44
I 2ga 29b THE PATTERNS IN THIS GROUP OF TEXTILES exemplify a design concept called qianzhi hua ([motif-layout similar to] entwining branches). Specimen (a) shows repeat bands of interlinking C-shaped scrolls representing vines in their prime.15 Leaves, though sparse, are prim and sprightly. Flowers in bud, half-open form, or full blossom issue from different parts of the springy vines. Altogether they create a pattern that captures well the exuberant vibrancy in plant life. The pattern in specimen (b) is composed of stylized flower heads.16 Each resembles a huge disc surrounded by several layers of rays. Its centre has an amorphous cluster representing many developing fruits. Each disc-like image is separated from the other by two clusters of double gourds depicted in reverse mirror image. Each cluster has two leafy tendrils reaching out to twine with one another. This striking pattern has much to offer. It shows harmony and contrast in shape and distribution of colour even though it is created on a simple blue-and-white scheme. The last specimen, (c), is decorated with a repeat pattern of goldfish swimming in a lotus pond.17 Not only the lotus stems intertwine with one another, even the goldfish weaving their way in and out of the profuse growth seem to intertwine with the dense stems and leaves. The intriguing trompe I'oeil effect is further enhanced by the fact that numerous short lines have been used to define the surface details of the goldfish, as well as the buds, petals, and leaf veins of the lotus. PATTERNS IN THIS GROUP OF FABRICS are created using the qianzhi hua design concept. Specimen (a) shows large birds perched on prunus branches.18 The compositional layout is lengthwise rather than across the narrow width. Although the profuse twigs with buds and blossoms extend in every direction to form a lace-like pattern, it is still possible to distinguish two rows of magpies represented in reverse mirror image in mid-section, flanked on each side by a row of paradise flycatchers caught at the moment when they alight on the branch. The magpie (xique) and prunus (mei) provide a rebus for the idiomatic expression xi shang meishao, used to describe a person beaming with happiness. Also by means of punning, the prunus may be interpreted to symbolize long life.19 This idea is reinforced by the paradise flycatcher whose name, shoudai, evokes the sound of the word meaning longevity (shou). Another motif that is not so easy to detect in this busy pattern is the cicada. It is perched on a twig between two large blossoms and a paradise flycatcher. The name of this insect, chan, summons to mind the term chanlian, which means 29. THREE LENGTHS OF FABRIC WITH DESIGNS OF (A) FLORAL SCROLLS, (B) FLOWERS AND DOUBLE GOURDS, AND (C) LOTUSES AND GOLDFISH, Cotton, 2002, )iangsu province, Gift of Dr. Ka Bo Tsang in memory of Mrs. Tsang Ng Sheung, 2004.68.34, 36, 37, W. (a) 38.4 cm, (b) 37.3 cm, (c) 37.2 cm 30. THREE LENGTHS OF FABRIC WITH DESIGNS OF (A) MAGPIES ON PRUNUS BRANCHES, (B) BIRDS AMONG CLUSTERS OF PINE NEEDLES, AND (C) BUT- TERFLIES AMONG HISB1SCUS BLOSSOMS, Cotton, 2002, Jiangsu province, Gift of Dr. Ka Bo Tsang in memory of Mrs. Tsang Ng Sheung, 2004.68.38, 39, 40, W. (a) 37.6 cm, (b) 78 cm, (c) 77.2 cm 45
Page 2 and 3: 1 CONTENTS Acknowledgments 3 Map of
Page 4 and 5: ' MAP OF CHINA XINJIANG INNER MONGO
Page 6 and 7: 1 INTRODUCTION As early as the Shan
Page 8 and 9: 1 cal events, religion, social cust
Page 10 and 11: 1 beat the foam down. The foam will
Page 12 and 13: her hometown Nijing to impart her n
Page 14 and 15: 1 One charming legend has it that i
Page 16 and 17: I THIS UPPER GARMENT is loose-fitti
Page 18 and 19: 1 6c 6d 11 colour thread. In the sp
Page 20 and 21: 1 PATTERN-DYED FABRICS: TIE-DYE Tie
Page 22 and 23: 1 metrically arranged white dots. T
Page 24 and 25: I THE DESIGN IN THIS YARDAGE relies
Page 26 and 27: 1 PATTERN-DYED FABRICS: WAX-RESIST
Page 28 and 29: 1 15a TYPICAL OF ALL SQUARE SCARVES
Page 30 and 31: from dered red band, and this in tu
Page 32 and 33: 19 THIS LENGTH Of CLOTH is decorate
Page 34 and 35: 1 PATTERN-DYED FABRICS: CLAMP-RESIS
Page 36 and 37: and taken up other jobs to make a l
Page 38 and 39: 1 I I I I I I I I I I I I I I I I n
Page 40 and 41: 1 far as Guangdong, Cuangxi, and Cu
Page 42 and 43: 1 25a and birds signify a harmoniou
Page 46 and 47: continuity. The pattern of specimen
Page 48 and 49: 1 of the so-called Eight Immortals,
Page 50 and 51: lue-and-white and multicoloured emb
Page 52 and 53: like design, and the begonia. Altho
Page 54 and 55: 1 of the bird depicted here this ho
Page 56 and 57: 1 38 back on their foreheads, noses
Page 58 and 59: 1 bolic meanings through the usual
Page 60 and 61: ! The other represents a stem with
Page 62 and 63: I I 45 IN THE MIDDLE OF THIS PILLOW
Page 64 and 65: I idea of transmission. As for the
Page 66 and 67: 1 The medallions impart a great sen
Page 68 and 69: of the melons in the middle basket
Page 70 and 71: The design is simple but quite attr
Page 72 and 73: ! I I 16 For information and illust
Page 74 and 75: I 1 I I 4 Zhong Maolan, Minjian ran
Page 76 and 77: pi. 10; Gao Benli, Taiwan zaoqi fus
Page 78 and 79: BIBLIOGRAPHY Baker, Muriel, and Mar
Page 80: I Inventive Art of Japanese Shaped

Touched by Indigo - Royal Ontario Museum

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