Touched by Indigo - Royal Ontario Museum

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1 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 54
would also elevate her social position. The woman appears to be holding out a musical chime (q/ng) with tassels in one hand. The boy seems to be raising a stick and about to hit (//') the musical chime. Their actions suggest the term //q/ng (celebration of auspicious events). The ruy/-shaped lock is actually represented by combining together two popular varieties of the ruyi form. It is a talisman that children used to wear around their necks to keep evil influences away.17 The comb of the rooster (y'/guan) is relied upon to provide the same sound that makes up part of the name of the cockscomb (jiguan hua) plant. Together, they would summon up the phrase guan shang jia guan (promotion to a higher rank). Also by a play on words, the bats (fu) are considered to be representative of good fortune (fu). The swooping pose of the prominent bat adds even greater significance to the motif. It indicates the imminence of the arrival of good fortune. The wisp of dissipating cloud (yun) also stands for good fortune (yun) as it shares the same sound with
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 44 and 45: 1 28 by chrysanthemums lived to a g
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 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
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Touched by Indigo - Royal Ontario Museum

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