Touched by Indigo - Royal Ontario Museum

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The one in the southeast corner shows two wan or swastika-like
motifs. The one in the northeast corner has an image of a persimmon
(shizi) viewed straight down from above, with its sepal represented
similar to a cross patee. From these two designs a popular phrase,
wanshi ruyi (may all wishes come true) can be elicited. The coin motif
seen in the northwest and southwest corners may mean wealth. It
may also be interpreted as a symbol of fertility.31
As if this array of symbols is still not enough, a fanciful representation
of two foshou (Buddha's-hand citron) growing out of a stem
is added to each of the corner designs. A foshou is an inedible fruit
valued mainly for its display potentials: it has an unusual hand-like
form, gives off a nice fragrance, and better still, imparts very auspicious
meanings. Here, through punning, its name is relied upon to
evoke the meanings of good fortune and longevity, although the same
ideas have already been made explicit by the two characters, fu and
shou, embroidered in the central square. In addition, similar to the
twin-headed flower motif in No. 42, its double-fruit form also implies
a happy union.
Without doubt, this handkerchief must have been made by a
girl for her own trousseau. Many of the desires she anticipated to
happen in her new life are both implicitly and explicitly expressed in
this small piece of embroidery. Although based on a popular design,
several points about this work are worth mentioning. While the
embroidery is mainly done in cross stitch, back stitch, straight stitch,
and double running stitch have also been used. As the inner rank of
the procession was much more important for the embroiderer, it has
been made more prominent by the use of dense stitches to delineate
the figural forms. Finally, by using pink and pale yellow silk floss for
edging and to describe a variety of details in the predominantly blueand-white
scheme, the embroiderer has not only infused a sense of
lightheartedness into her work. Through the choice of these subtle
colours she has also succeeded in alleviating the heaviness of the
otherwise sombre stitchery.
42
THIS SLIGHTLY RECTANGULAR HANDKERCHIEF is embroidered
with cross stitch and back stitch. The turned-up hem with
chevron stitch edging creates another border in addition to the proper
border made up of repeating double-lined S-curves. Occupying a
sizable area in the centre of the field is a large medallion. In its centre
is a square superimposed on top of another one in kiddy-corner
fashion. The lower square is decorated with an overall cross pattern.
The upper one is dominated by the stylized form of a shou (longevity)
character. It is enclosed in an octagon which in turn is enclosed
in yet another square decorated with and surrounded by fillers. Since
the composition of the stylized shou character includes the wan or
swastika-like motif, its longevity connotation is strengthened ten
thousand times.
Four stems of stylized lotus shown with the features of various
stages of a lotus' development issue from the
corners of the overlapped square. At each point
where they meet is a bird. Seen together, these
four birds appear to be flying in a clockwise
circle around the pattern. In the inner ring of
motifs another group of four birds are depicted
flying in a counter-clockwise circle. Their flight
patterns add a sense of motion to the design.32
Birds flying among flowers are implicit with the
desire for conjugal bliss.
Two different patterns adorn the four
corners of this handkerchief. Each occupies an
opposite corner. One depicts a phoenix. A pair
of them symbolize a devoted married couple.
42. HANDKERCHIEF, Cotton, 1900-1925, Chengdu, Sichuan province, Oft of Dr.
and Mrs. J.H. Mul/ett, 997.127.9, L. 30.4 cm x W. 27.1 cm
S9