Touched by Indigo - Royal Ontario Museum
Touched by Indigo - Royal Ontario Museum
Touched by Indigo - Royal Ontario Museum
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of the bird depicted here this hope is reinforced <strong>by</strong> the addition of a<br />
wan or swastika-like symbol. Its meaning is ten thousand and in the<br />
present context would imply an exceedingly long life.<br />
The idea of long life is further augmented <strong>by</strong> the peach blossom,<br />
another symbol of longevity. Its association is derived from<br />
Chinese folklore which asserts that the peaches grown in the garden<br />
of the Queen Mother of the West ripened every 3,000 years. If consumed,<br />
each fruit could add 600 years to one's life span.<br />
The turned-up hem is embroidered with darning<br />
stitch and cross stitch. The repeating pattern<br />
produced is composed of stylized butterflies placed<br />
in a right-side-up manner alternating with one<br />
executed in an upside-down position. As a visual<br />
pun, the butterfly (die) also evokes the idea of<br />
long life.14<br />
THIS WEDGE-SHAPED BIB has a curved<br />
bottom and a large semi-circular pocket across<br />
the lower edge. Two tapes attached to the pointed<br />
ends at the waist were used to keep the lower part of<br />
the bib in place. The tapes used for tying the bib around<br />
the infant's neck are missing.<br />
The embroidery is largely executed in cross stitch. Small<br />
details, however, are worked in straight stitch, back stitch, or<br />
knot stitch. The bib shows two scenes. The upper one depicts a<br />
boy kneeling beside a cluster of bamboo and a rock under the sun.<br />
What it illustrates is actually one of the twenty-four paragons of filial<br />
piety. The story is related to a historical figure named Meng Zong<br />
(d. ad 271) who lived in the state of Wu during the Three Kingdoms<br />
period.15 Known as a loving son since his childhood, he took good<br />
care of his mother. One winter, he noticed that there was a shortage<br />
of supply of bamboo shoots. Knowing that these constituted a<br />
culinary delight his mother craved for, he went to a bamboo grove to<br />
cry and made a supplication. As the legend goes, Heaven was moved<br />
and caused the bamboo shoots to push through the soil. Thus, Meng<br />
Zong was able to keep his mother happy.<br />
The lower scene is composed of a jumble of seemingly unrelated<br />
motifs. In the centre is a vase with a stem of lotus, a lingzhi, and what<br />
may be interpreted as stalks of grain. Flanking it is a woman and a boy,<br />
both seem to be standing on a wisp of cloud. To the left of the woman are<br />
a ruy/'-shaped lock, a rooster, and a stem of cockscomb. To the right of<br />
the boy is a flock of bats—one shown much bigger than the<br />
rest—flying down from a dissipating wisp of cloud.<br />
Many auspicious meanings are hidden in this composite<br />
design. Punning plays a major role in conveying the<br />
messages. With regard to the lingzhi fungus, because<br />
its double-curved shape is imitated to form the head<br />
of the ruyi sceptre, it has also acquired the meaning<br />
of ruyi (fulfilled wishes).16 As a result, when the<br />
lingzhi is viewed together with the lotus (//an), they<br />
would evoke the phrase liannian ruyi or "[May your]<br />
wishes come true year after year." Similarly, the ears (sui) of<br />
the grain stalks and the vase (huaping) would summon to the<br />
Chinese mind the phrase suisui ping'an, meaning "[May you be<br />
blessed with] peace and safety year in and year out."<br />
The child standing on a wisp of cloud (yun) suggests another<br />
phrase, pingbu qingyun, literally, "stepping on an azure cloud;" but<br />
more plainly, "achieving goals without exerting much effort." The woman,<br />
possibly the mother, also stands on a cloud. The cloud is added under her<br />
feet as much for compositional balance as to mean that her son's success<br />
37. BIB, Cotton, 1900-1940, Chengdu, Sichuan province, 980.287.18, L 37.5 cm<br />
x W. 38 cm<br />
54