Touched by Indigo - Royal Ontario Museum

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