Touched by Indigo - Royal Ontario Museum
Touched by Indigo - Royal Ontario Museum
Touched by Indigo - Royal Ontario Museum
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I<br />
I<br />
45<br />
IN THE MIDDLE OF THIS PILLOW COVER the large image<br />
of a fruit basket is placed on a slant in order to fit into the narrow<br />
rectangular format. This composite design is shot through with layers<br />
of symbolism. The two prominent pomegranates with their seeds<br />
revealed are emblematic of fecundity. The basket (/an) is implicit with<br />
the desire for male (nan) offspring. On the bulging body of the basket<br />
is a less conspicuous decorative<br />
pattern—bamboo<br />
and prunus depicted<br />
against ice crackles. The<br />
bamboo and prunus are<br />
standard motifs for the<br />
representation of husband<br />
and wife.40 Both<br />
are also symbols of long<br />
life.41 Therefore, they<br />
have often been paired<br />
together to impart a hope that a married couple may enjoy longevity.<br />
The longevity (shoo) idea is further strengthened <strong>by</strong> long ribbons<br />
(shou) and the meander pattern around the neck of the basket. The<br />
ice crackles (sui) and the ruy/-shaped foot and rim of the basket<br />
would summon up in the Chinese mind the phrase suisui ruyi which<br />
expresses the hope that wishes are fulfilled year (su/) after year. While<br />
the design seems to be loaded with too many good wishes already,<br />
one more meaningful phrase, fu zai yan qian, is concealed in the<br />
visual pun created <strong>by</strong> a decorative element represented in the form<br />
of a bat (ft;) on the basket's handle and a coin (qian) placed near the<br />
foot of the basket. It foretells forthcoming good fortune.<br />
The embroidery is mainly done in cross stitch. Other supplementary<br />
techniques include pine-needle stitch, back stitch, blanket<br />
stitch, and double running stitch. The last few are evident in the border<br />
pattern across each end of the pillow cover. Also, both ends are<br />
hemmed with fancy overcasting.<br />
A TRADITIONAL CHINESE BED was constructed as a haven for<br />
private relaxation. To ensure privacy, three sides of the four-poster bed<br />
would be enclosed <strong>by</strong> latticework and/or drawn curtains.42 It would<br />
also be placed in a corner of the bedroom or against a wall.43 As well,<br />
the front would be equipped with curtains that could be drawn apart<br />
in the middle. In addition to all kinds of decorative devices used to<br />
make the bed look attractive, an embroidered valance would have<br />
been hung across its top at the front.<br />
This valance shows a simple decorating scheme. Three large<br />
medallions depicted side <strong>by</strong> side in the middle are balanced <strong>by</strong> two<br />
large triangles that fill the inside corners. They are embroidered using<br />
the pattern darning technique which creates identical motifs on both<br />
sides of the fabric with a slightly different visual effect: those shown<br />
on the front appear in blue on white, whereas their reverse images<br />
on the back appear in white on blue.44 The lower border, worked<br />
in cross stitch, is a row of repeat flower heads linked <strong>by</strong> a continuous<br />
wavy vine with sparse leaves. The hem is rolled to the front and<br />
secured along the long edge with a blanket stitch.<br />
The compactness of the darning stitch not only makes the<br />
45. PILLOW COVER, Cotton, 1900-1925, Chengdu, Sichuan province, 980.28733,<br />
L 78 cm x W. 37 cm<br />
46. BED VALANCE, Cotton, Qing dynasty, 1870-1889, Chengdu, Sichuan province,<br />
Gift of Dr. and Mrs. I.H. Multett, 994.28.54, L. 167.5 cm x W. 35 cm<br />
62