Touched by Indigo - Royal Ontario Museum

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IN THE MIDDLE OF THIS PILLOW COVER the large image
of a fruit basket is placed on a slant in order to fit into the narrow
rectangular format. This composite design is shot through with layers
of symbolism. The two prominent pomegranates with their seeds
revealed are emblematic of fecundity. The basket (/an) is implicit with
the desire for male (nan) offspring. On the bulging body of the basket
is a less conspicuous decorative
pattern—bamboo
and prunus depicted
against ice crackles. The
bamboo and prunus are
standard motifs for the
representation of husband
and wife.40 Both
are also symbols of long
life.41 Therefore, they
have often been paired
together to impart a hope that a married couple may enjoy longevity.
The longevity (shoo) idea is further strengthened by long ribbons
(shou) and the meander pattern around the neck of the basket. The
ice crackles (sui) and the ruy/-shaped foot and rim of the basket
would summon up in the Chinese mind the phrase suisui ruyi which
expresses the hope that wishes are fulfilled year (su/) after year. While
the design seems to be loaded with too many good wishes already,
one more meaningful phrase, fu zai yan qian, is concealed in the
visual pun created by a decorative element represented in the form
of a bat (ft;) on the basket's handle and a coin (qian) placed near the
foot of the basket. It foretells forthcoming good fortune.
The embroidery is mainly done in cross stitch. Other supplementary
techniques include pine-needle stitch, back stitch, blanket
stitch, and double running stitch. The last few are evident in the border
pattern across each end of the pillow cover. Also, both ends are
hemmed with fancy overcasting.
A TRADITIONAL CHINESE BED was constructed as a haven for
private relaxation. To ensure privacy, three sides of the four-poster bed
would be enclosed by latticework and/or drawn curtains.42 It would
also be placed in a corner of the bedroom or against a wall.43 As well,
the front would be equipped with curtains that could be drawn apart
in the middle. In addition to all kinds of decorative devices used to
make the bed look attractive, an embroidered valance would have
been hung across its top at the front.
This valance shows a simple decorating scheme. Three large
medallions depicted side by side in the middle are balanced by two
large triangles that fill the inside corners. They are embroidered using
the pattern darning technique which creates identical motifs on both
sides of the fabric with a slightly different visual effect: those shown
on the front appear in blue on white, whereas their reverse images
on the back appear in white on blue.44 The lower border, worked
in cross stitch, is a row of repeat flower heads linked by a continuous
wavy vine with sparse leaves. The hem is rolled to the front and
secured along the long edge with a blanket stitch.
The compactness of the darning stitch not only makes the
45. PILLOW COVER, Cotton, 1900-1925, Chengdu, Sichuan province, 980.28733,
L 78 cm x W. 37 cm
46. BED VALANCE, Cotton, Qing dynasty, 1870-1889, Chengdu, Sichuan province,
Gift of Dr. and Mrs. I.H. Multett, 994.28.54, L. 167.5 cm x W. 35 cm
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