Rank and Festival - Plum Blossoms Gallery

Rank and Festival
Chinese Textiles from the
Tang to Qing Dynasties
Rank and Festival
Rank and Festival
Chinese Textiles from the
Tang to Qing Dynasties
2
Rank and Festival • Chinese Textiles from the
Tang to Qing Dynasties
L
uxury silk textiles have been associated with
China for more than two thousand years.
The legendary Silk Road developed as the
primary conduit for the export of Chinese silk
fabrics to ancient Persia, Greece and Rome. The
establishment of this trade route also led to the
transmission in both directions of innovations
in technologies as well as the transmission of
elements of design motifs that were embraced by
all the cultures that made use of the trade route.
Owing to the high value added aspect of luxury
silk fabrics coupled with the ease of transporting
silks over other manufactures of material goods,
silk textiles proved to be the major influence on
the transmission of motifs and designs from one
part of Asia to another. It is this factor of luxury
that was attractive to a broad spectrum of cultures
combined with easy transportability that makes
the collection of silk textiles such a fascinating
obsession for today’s collectors as each textile
reveals its unique story of history, geography
and cross-cultural transmission of knowledge.
Embedded in this story is the role that luxury
textiles played in both commerce and in patronage.
With this publication of Rank and Festival: Chinese
Textiles from the Tang to Qing Dynasties it is our
intention to provide a glimpse into the variety
of beautiful and luxurious surviving silk textiles
dating from the 1100-year span from the 8th to 19th
centuries. This catalogue follows the chronology of
the textiles themselves and it is our wish to provide
an insight into the variety of the material silk
culture to be found in today’s marketplace.
ties to the ancient Persian Sasanian Empire. The
Sogdians situated as they were at the strategic
confluence of trade routes that linked ancient Iran
and Byzantium with China became the leading
merchants of Central Asia from the 6th to 9th
centuries and established colonies in strategic
locations along the Silk Road. The Sogdians filled
a role as bankers whose presence furthered trade
and in many instances Sogdians accepted imperial
appointments as administrators on behalf of the
Chinese court. The motif of pearl roundels with
confronting deer motif as seen in the Nobleman’s
Vest is an early example of the roundel with animals
and birds that was embraced by the Chinese silk
weavers and incorporated into Chinese design for
centuries thereafter. Today the design is assumed to
be Chinese but the origins are from further west.
Most Chinese textile enthusiasts are drawn to
and fascinated by the kesi slit tapestry-weaving
technique that allows intricate use of color
combinations and appears to an uneducated eye as
jigsaw puzzles of silk bits somehow held together
by single threads. We are fortunate to have six
interesting examples of this fine silk weave medium
ranging in date from the 11th to the 16th centuries to
showcase in this collection. The earliest examples
(plates 2 and 3) are of types now associated with
the origins of silk tapestry weaving in eastern
Central Asia as practiced by the Uigyurs who
introduced this weaving technique to the Chinese.
These fragmentary panels provide an insight to the
different aesthetic that the Uigyurs embraced in
their rendering of the motifs and also hint of the
imminent Chinese adoption of the technique that
their weavers would claim as their own. Chinese
weavers went on to develop the technique for use
in decorative fabrics and fashion as well as in
compositions of fine art, copying paintings and
calligraphy in this versatile textile medium.
The perfect illustration of textile motifs being
transmitted through trade and commerce
is illustrated by the Central Asian Sogdian
Nobleman’s Vest (plate 1). Ancient Sogdiana
located in the region now centered on the modern
city of Samarkand in Uzbekistan owed its cultural
4
Other fine examples of the kesi weaving technique
can be found in the three tapestry woven rank
badges in the collection (plates 6, 8 and 9). These
early to mid-Ming dynasty examples highlight
the visual impact of the kesi tapestry technique
in the hands of the Chinese weavers. The use of
variegated threads to provide mixes of color tones
in the Dragon Badge (plate 6) and the intricacy of
the weaving show the heights the weavers achieved
with the technique. The rare Bear rank badge for a
5th Rank Military Official (plate 8) and the equally
rare Douniu Dragon Badge (plate 9) awarded to a
favored courtier highlight the confidence of the
weavers in working at small scale with fine details.
This intricate small-scale work is contrasted by
the large scale of the Kesi Phoenix hanging (plate
11) where the weavers have maintained the power
in the details while using a monumentality that
can hold a large space when the Phoenix panel is
displayed.
Nepalese/Tibetan compositions were passed on
to the Chinese artisans who came in contact with
the Tibetans. The results were Chinese works of art
with undertones of that cultural transmission that
were made for the Tibetan market. The ‘Thousand
Buddha’ panel is also an indicator of cultural crossdressing. The ‘Thousand Buddha’ motif was widely
used during the Tang dynasty in the cave paintings
at the important Buddhist grottoes of Dunhuang
along the Silk Road. The Tibetans controlled the
Silk Road and the oasis of Dunhuang for almost
300 years from the 7th to 9th centuries. The Tibetans
brought back to their Buddhist culture a love for
the Chinese inspired ‘Thousand Buddha’ motif and
it was widely disseminated in the monastery murals
of Tibet. To satisfy that demand and with Mongol
patronage, Chinese weavers were employed to
weave the Thousand Buddha brocade that we now
have the privilege to admire.
Textiles have their stories that reveal the nuances
of history. This aspect of collecting textiles is very
exciting and combined with the sensual pleasures
of texture, line and color provide many hours of
enjoyment to the enthusiast. The Tibetan style
brocade tangka of Sakyamuni Buddha (plate 4)
and the Thousand Buddha brocade panel (plate 5)
are just such textiles. Both textiles dating from
the late Yuan to early Ming dynasties were woven
in China for presentation or trade with Tibet. The
Yuan Mongol hierarchs had a unique relationship
with the Tibetan Buddhist Lamas of that era. The
Mongols embraced Tibetan Buddhism and through
the student/ teacher patronage system there was a
continuous flow of information and material goods
between the two cultures. The Sakyamuni Buddha
tangka is stylistically linked to the influence of
Nepalese artisans who labored on monastery
construction projects for the Lamas in Tibet. These
All silk textiles are luxurious by nature. Vanity
and adornment are the driving forces that made
silk textiles so desirable. As court life developed
in the early Ming dynasty, the Han court adopted
and adapted a system of indicating social rank
amongst courtiers that had first been developed
5
service to the Emperor is unusual and vigorous
in its drawing. The reign of the late Ming dynasty
Emperor Wanli (1573 – 1620 AD) was a decadent
and raucous period when every festival throughout
the lunar year was marked with elaborate
celebrations. A group of exceptional finely
embroidered Wanli period festival badges give us
some indication of these festivities. These beautiful
textiles include a pair of yellow dragon badges
made for the Lunar New Year Lantern Festival
(plate 13), a pair of blue ground badges (plate 16)
as well as a single salmon red badge (plate 12) both
made for use at the “Double Five’ or ’Five Poisons’
festival. They are very finely executed, as the textile
craft during the reign of the Wanli Emperor was
exceptional. Other masterpiece examples of Wanli
period embroidered rank squares can be found in
pair of blue ground Dragon badges (plate 14) and
the single Front Facing Dragon Badge (plate 15)
that almost jumps out at the viewer.
by the Mongols during the Yuan dynasty. The
system used insignia of birds and animals to
differentiate position within the imperial court.
The new Ming dynasty courtiers developed the
system by making the badges separate units and
applicable to garments rather than integrally
woven insignia favored by the Mongol court. This
allowed the upwardly mobile courtiers to attach
different insignia as they worked their way through
the bureaucracy. Thus the ubiquitous rank badge
system for Chinese mandarins came into use.
Most of the examples of rank badges that we see
in shops and collections tend to be examples
from the late Qing dynasty. They are interesting
in that they might be collected like stamps with
the collector trying to collect whole sets of civil
and military ranks. The textiles themselves have
by the 19th century lost most of their power as fine
textile artworks with rudimentary drawing and
the propensity to use ink rather than weaving or
embroidery to define the details.
These days the fascination with the material
culture associated with reign of the early Qing
dynasty Emperor Qianlong (1736 – 1795 AD) rules
the Chinese art marketplace. Undoubtedly the
Qianlong Emperor’s reign marked the zenith of
Chinese imperial culture and the rising force of
the new wealth of modern day China identifies
with the strong and powerful Qianlong Emperor.
Court garments dating from the Qianlong
period are rare and court robes dating from the
earliest part of his reign are extremely rare. We
are fortunate to be able to include an exceptional
Early Qing Dynasty Chuba (plate 19) of green/
brown color and dating from the early reign of
Qianlong in this collection. The drawing of the
fierce dragons as well as the swirling and turbulent
sea in the lower register of the robe exhibit the
confidence and vitality of the court artists who
executed this fine brocaded fabric.
We are fortunate with this collection of textiles
gathered for Rank and Festival: Chinese Textiles from the
Tang to Qing Dynasties to have a group of extremely
rare and fine examples of rank and festival badges
that span the period from early to late Ming dynasty
(1450 – 1600 AD). Several of the rank insignia in
the group are very rare pairs of front and back
badges (plates 13, 14 and 16). Three of the badges
from the 15th century are very special. The Dragon
badge (plate 6) and the Bear badge (plate 8) as
well as the embroidered Phoenixes badge (plate
7) are exceptionally rare and represent a range of
rank insignias for use by courtiers in the Emperor’s
retinue as well as the Empress’s attendants and the
Military as well. The mid-Ming dynasty Xiezhi Court
Censor’s badge (plate 10) is a very finely worked
embroidery with a rare subject and the kesi Douniu
Dragon badge (plate 9) presented for exceptional
6
wealth deity. Exceptionally crafted and animated
with power and humor, the tangka is rich in details
as well as being correct in its iconography. This
Ganapati tangka serves as a visual reminder of
humanity’s obsession with accumulated wealth.
It is fitting that it is constructed from luxurious
silk fabrics that for thousands of years have served
to adorn and identify those who use them as the
fortunate ones of society.
It is a pleasure for me to exhibit and publish a
collection of this scope. I hope that my fellow
textile lovers will enjoy this small contribution
of fresh material. I would like to thank Keira
McGuinness for her design of the catalogue.
Thanks to my staff at Plum Blossoms for their
assistance in the publication of this catalogue.
Please enjoy the textiles. Studying beautiful textile
objects has kept me fascinated for more than 32
years. I hope that new collectors will also become
infected with the textile bug.
Stephen McGuinness
Hong Kong
September 2011
Silk textiles of Chinese manufacture are
synonymous with luxury, position and wealth.
What better way to showcase this fact than with
the final textile in the collection, the Tibetan
Appliqué Tangka of Ganapati (plate 21). This
beautiful silk textile is the product of Tibetan
artisans who embraced the art form of appliqué.
Using the raw materials of Chinese luxury silk
fabrics they have created an iconography unique
to Tibetan Buddhism to create this tangka that
depicts Ganapati, the dancing elephant-headed
7
Plates
1. Central Asian Sogdian Nobleman’s Vest
An antique Eastern Central Asian Sogdian nobleman’s vest woven in a weft faced compound
twill with designs of multiple aligned pearl roundels that enclose confronted deer that stand
on split palmettes; four-directional palmettes fill the interstices. The vest is seamed at the
shoulders so that the pattern would be correctly oriented both front and back. The collar and
front facings were cut separately and seamed.
Eastern Central Asia, Tang Dynasty, Circa 8th century AD
70 x 85 cm
T-0977
Similar published examples:
See a Child’s Coat from The Cleveland Museum of Art illustrated in When Silk Was Gold,
The Metropolitan Museum of Art, New York, 1997, Plate 5, pages 34-35.
See a related vest from the Pritzker Collection, Chicago illustrated in Chinese and Central Asian
Textiles, Orientations Magazine, Hong Kong, 1998, page 220.
Below: detail
2. Deer and Birds in Flight Amid Flowers
An antique Central Asian kesi tapestry woven
fragment showing a partial cloud-collar
medallion with deer and birds in flight amid
flowers and leaves. The partial cloud-collar
suggests that this early fragment was likely a
collar of a garment.
Eastern Central Asia, circa 11th-12th century
28.5 x 36 cm
T-1036
Similar published examples:
See several panels with partial cloud–collar
medallions illustrated in When Silk Was Gold,
The Metropolitan Museum of Art, New York,
1997, Figure 12, page 55, Figures 26 and 27, page
75.
3. Dragons Chasing Flaming Pearls
A rare antique Central Asian polychrome
silk and gold kesi tapestry panel woven
against a deep purple ground with seven
dragons plunging, leaping and turning
as they chase flaming pearls amid
clouds.
Central Asia, 13th century or earlier
57 x 32 cm
T-0310
Similar published example:
See a similar panel from the collection of
The Cleveland Museum of Art illustrated
in When Silk Was Gold, The Metropolitan
Museum of Art, New York, 1997, Plate
17, page 76.
Left-hand page: detail
4. Sakyamuni Buddha Tangka
An antique Chinese brocade tangka finely woven in blue, green, peach, ochre and gold threads
depicting Sakyamuni Buddha in monastic robes seating in dyanasana on a lotus throne, the
hands in bhumiparsa mudra, the ‘earth witnessing gesture’, surrounded by Vaisravana, the
Yellow and Black Jambalas, Avalokitesvara, Padmapani, Visvabhu, Dasyapa and the White and
Green Taras.
China, Late Yuan – Early Ming Dynasty, Circa late 14th - Early 15th Century
67 x 50.5 cm
T-1027
Similar published examples:
John Vollmer, Silks for Thrones and Altars: Chinese Textiles from the Liao through the Qing Dynasty,
Myrna Myers, Paris, 2003, Plate 65, Pages 124-125
The Chris Hall Family Trust, Heaven’s Embroidered Cloths: One Thousand Years of Chinese Textiles,
Hong Kong, 1995, Plate 23, pages 126-127
A similar brocade tangka sold at Christie’s Auction, New York, March 26, 2010,
Sale 1243, Lot 2297
Left-hand page: detail
Following spread: details
5. Thousand Buddha Brocade
An antique Chinese brocade panel woven in
tones of blue, green, peach, ochre and white
threads depicting seven rows of Buddha each
seated on a lotus throne in an identical posture,
each row with details picked out in different
tones and divided by ruyi shaped clouds. This
pattern of Thousand Buddha was prominent in
early Buddhist cave paintings on the Silk Road,
such as those found at Dunhuang and was
probably the inspiration for this brocade panel.
China, Liao/Yuan Dynasty, Circa 13th - 14th
Century AD
89 x 64 cm
T-1028
Similar published example:
Compare to another panel of a later Ming date
illustrated in Jacqueline Simcox, Chinese Textiles,
Spink and Son, London, 1994, Plate 19, Page 24
Left-hand page: detail
6. Kesi Dragon Rank Insignia
An extremely fine antique Chinese early Ming
dynasty polychrome silk kesi tapestry woven
dragon rank square now reduced to a shaped
temple hanging finial. The fine kesi weaving
employs intricate variegated shading of colors
and depicts a vigorous, fierce side-facing
dragon chasing a flaming pearl. The vigorous
dragon writhes and flies above a turbulent sea
and through a cloud filled sky with auspicious
treasures interspersed throughout the design.
China, Early Ming Dynasty, Circa 1450
33 x 39.7 cm
T-1055
Left-hand page: detail
Following spread: detail
7. Feng Huang Phoenixes Rank Insignia
An antique Chinese early Ming dynasty
polychrome silk counted stitch embroidered
rank insignia made for use by a courtier
serving the Empress. Mated Feng Huang
phoenixes are depicted flying in a cloud filled
sky amidst a blooming peony garden which
features an aquatic landscape with wading
water birds beside a craggy rock outcrop.
China, Early Ming Dynasty, Circa 1450 AD
29.8 x 31.3 cm
T-1054
Similar published example:
Compare with a panel worked in a similar
counted stitch embroidery technique and with
a related aquatic motif element illustrated in
Jacqueline Simcox, Chinese Textiles, Spink and Son,
London, 1994, Plate 20, Page 25
Right: detail
Left-hand page: detail
8. 5th Rank Military Official’s Kesi Rank Square
An extremely fine antique Chinese early Ming dynasty polychrome kesi silk tapestry woven rank
square for a fifth rank military official depicting a pair of seated bears set in a stylized landscape
within a cloud filled sky and are flanked by peony blooms. This badge is the front badge of a set
and was made in two halves designed for application to a central opening sur-coat.
China, Early Ming Dynasty, Circa 1450 AD
Overall: 34 x 37 cm; Front badge each side: 34 x 18.5 cm
T-1057
Similar published example:
See a related 5th rank military badge from The Chris Hall Family Trust illustrated in Power
Dressing: Textiles for Rulers and Priests from the Chris Hall Collection, Asian Civilizations Museum,
Singapore, 2006, Plate 68, Pages 238 –239
Left-hand page: detail
9. Douniu Ox Horn Dragon Rank Square
An antique Chinese mid-Ming dynasty polychrome kesi silk tapestry woven rank square
depicting a four clawed douniu ox horn dragon clutching a flaming pearl in its foliate tail. The
dragon grasps with one set of claws a mountainous rock outcrop that pierces a turbulent sea.
The douniu badge served as a symbol of imperial favor for an official who had performed well
in his duties.
China, Mid-Ming Dynasty, Circa 1500 AD
32.5 x 34.5 cm
T-1053
Similar published example:
See a related Douniu badge from The Chris Hall Family Trust illustrated in Power Dressing:
Textiles for Rulers and Priests from the Chris Hall Collection, Asian Civilizations Museum, Singapore,
2006, Plate 45, Pages 194 –195
Left-hand page: detail
10. Xiezhi Court Censor’s Rank Insignia
An antique Chinese mid-Ming dynasty polychrome silk and gold counted stitch embroidered
rank insignia depicting a Xiezhi, a mythological animal used to designate the Court Censor.
The Xiezhi sits on its haunches in a peony garden beneath a cloud filled sky. The creature,
rocks, flowers and clouds are all detailed in a diamond fret embroidery technique and the
background is made of flat gold foil on paper couched in a network of fine star-like threads.
The overall badge has been reduced and shaped for use as a finial for a monastery/temple
hanging.
China, Mid Ming Dynasty, Circa 1500
30.5 x 36.3 cm
T-1056
Similar published examples:
See three related Xiezhi badges from The Chris Hall Family Trust illustrated in Power Dressing:
Textiles for Rulers and Priests from the Chris Hall Collection, Asian Civilizations Museum, Singapore,
2006, Plates 50, 51 and 52, Pages 204 –209
Compare to a related civil official’s badge worked in the same unusual embroidery technique
illustrated in Jacqueline Simcox, Chinese Textiles , Spink and Son, London, 1994, Plate 37, Page 41
Left-hand page: detail
Following spread: detail
11. Kesi Phoenix Hanging
An antique Chinese mid-Ming dynasty polychrome
silk and gold kesi tapestry woven panel depicting
a phoenix standing in a flowering garden of tree
peonies. The large hanging is surmounted by
an integrally woven valance that is decorated
with auspicious motifs imparting best wishes:
pomegranates representing fecundity, peaches
wishing long-life, sprays of peonies and a
magnificent Paradise Flycatcher.
China, Mid-Ming Dynasty, Circa 1550 AD
214 x 104 cm
T-0987
Left-hand page: detail
Following spread: detail
12. Ming Dynasty ‘Double Five’ Festival Badge
A very rare antique Chinese late Ming dynasty, Wanli period polychrome silk and gold
wrapped thread counted stitch embroidered festival badge depicting a gold couched front
facing dragon worked against a salmon red diamond lozenge ground.
This rare festival badge incorporates the ‘five poisons’ motif and was made to be worn by
a top court official within the Imperial Palace on the ‘double five’ festival held each lunar
year on the 5th day of the 5th month, a time believed in Chinese lore to be an especially
dangerous time of the year. The ‘five poisons’ depicted are the viper, flying centipede, lizard,
scorpion and the three-legged toad. Also depicted below the dragon is a recumbent tiger that
offers additional protection against malevolence of the ‘double five’ day as do the Artemisia
branches that flank the dragon on each side.
China, Late Ming Dynasty, Circa 1600 AD
39.5 x 37.2 cm
T-1066
Left-hand page: detail
Following two spread: details
13. Lantern Festival Rank Squares
A pair of yellow antique Chinese late Ming dynasty counted stitch embroidered festival rank
squares made for the Yuanxiao Jie Lantern Festival. The badges are worked with polychrome
silk floss and gold wrapped threads. The badge intended to be worn on the official’s back
features a front facing dragon grasping gourds with its claws and flies above a raging sea
filled with precious treasures and pierced by shaft type mountains typical of the Wanli
period. The yellow field is interspersed with auspicious flowers and symbols of wealth. The
front badge is the rare split type with side facing dragons clutching gourds in the same
configuration and motif as the back badge.
Late Ming Dynasty, Circa 1600 AD
Back badge: 33.5 x 35.5 cm, Front badge each side: 33.5 x 16.75 cm
T-1034
Following spread: details
14. Dragon Squares for a High Imperial Official
A rare pair of antique Chinese late Ming dynasty, Wanli period polychrome silk and gold
wrapped thread counted stitch embroidered rank squares made to be worn by a high official
working within the Imperial Palace. The back badge with a central gold couched front facing
five-clawed dragon cradling a flaming pearl flies in a cloud filled sky above a turbulent sea
filled with auspicious treasures and pierced by rocky mountainous outcrops upon which
grow auspicious ruyi fungus, all worked on a brilliant blue ground. The split front badge was
designed for application to a front opening court sur-coat. These two sides of the front badge
are worked with side facing gold couched dragons chasing flaming pearls and have the same
sea, mountain, treasures and fungus motifs as the back badge.
China, Late Ming Dynasty, Circa 1600 AD
Back badge: 37.5 x 37.5 cm; Front badge each side: 37.5 x 18.5 cm
T-1062
15. Front Facing Dragon Rank Square
An antique Chinese Ming dynasty, Wanli period embroidered dragon rank square worked
with polychrome silk and gold wrapped threads on a patterned green damask ground. The
front facing dragon guards a central flaming pearl and grasps two sets of mountain peaks
emerging from a turbulent sea and flies in a cloud filled sky.
China, Late Ming Dynasty, Circa 1600 AD
39 x 38 cm
T-1059
Left-hand page: detail
16. ‘Double Five’ Festival Badges
A very rare pair of antique late Ming dynasty, Wanli period polychrome silk and gold wrapped
thread embroidered festival badges made to be worn for the celebration of the ‘Double Five’
festival now known as the Dragon Boat Festival. These rare festival badges depicting the
‘five poisons’ were made to be worn by a top court official within the Imperial Palace on
the ‘double five’ festival day held each lunar year on the fifth day of the fifth month, a time
believed in Chinese lore to be an especially dangerous time of the year. The ‘five poisons’
depicted are the viper, flying centipede, lizard, scorpion and the three-legged toad. Also
depicted below the dragon is a recumbent tiger that offers additional protection against
malevolence of the ‘double five day as do the Artemisia branches which flank the dragons.
China, Late Ming Dynasty, Circa 1600 AD
Back badge: 38 x 38 cm, Front badge each side: 38 x 18 cm
T-1061
Following spread: details
17. Early Qing Dynasty Running Dragon
An antique Chinese early Qing dynasty
polychrome silk brocade running four-clawed
dragon amongst clouds, flowers and ruyi
fungus above a turbulent sea pierced by rocky
outcrops. This dragon is a fragment from a
court official’s chaofu formal court robe.
Early Qing Dynasty, Circa 1680 AD
23 x 65 cm
T-1058
18. Butterflies and Flowers
An antique Chinese yellow counted stitch
embroidered panel featuring a variety of
motifs such as lotus leaves, butterflies and
begonias set against a lattice ground imitating
a woven fabric.
China, late Ming or Early Qing Dynasty,
Circa 17th Century
26.3 x 21 cm
T-1031
Similar published examples:
John Vollmer, Silks for Thrones and Altars: Chinese
Textiles from the Liao through the Qing Dynasty,
Myrna Myers, Paris, 2003, Plate 31, Page 70.
19. Early Qing Dynasty Chuba
A very fine and early Qing dynasty, early Qianlong period antique Chinese polychrome silk
and gold brocade dragon robe now tailored as a Tibetan nobleman’s Chuba. The auspicious
garment is laid out with large fierce writhing dragons chasing flaming pearls through a cloud
filled sky and above a turbulent sea pierced by stylized mountains. The churning sea is filled
with smaller dragons guarding precious treasures of gemstones, ingots and coral. The whole
composition is worked on a green-brown ground.
The unusual green-brown color of the robe is characteristic of an Imperial provenance as the
huangchao liqi tushi manuscript detailing court attire gave members of the Imperial family the
choice of either blue or brown court robes. Brown was considered to be an off-shade of yellow.
China, Early Qing Dynasty, Circa 1725 - 1740 AD
167.7 x 193 cm
T-1037
Left-hand page: detail
Above: front of robe
Following spread: detail and back of robe
20. Buddhist Dance Crown
An antique Chinese Qing dynasty embroidered dance crown made for use in Tibetan Lamaist
rituals. The five-peaked crown depicts the five dhyani bodhisattvas seated on lotus thrones
each identifiable with their representative colors and their personal attributes.
Circa 1750 AD
30 x 58 cm
T-1065
Similar published examples:
See two related dance crowns illustrated in Jacqueline Simcox, Chinese Textiles, Spink and Son,
London, 1994, Plate 46 and 47, Page 47
Left-hand page: detail
21. Tibetan Appliqué Tangka of Ganapati
A polychrome silk appliqué Tibetan tangka of Ganapati finely worked using various colors
and patterns of period Chinese satin and damask fabrics. The central figure is Red Ganapati,
a 12-armed tantric form derived from the Hindu god, Ganesha. The deity is depicted holding
a variety of his symbolic attributes and dancing upon a lotus throne framed within a gem
studded mandorla and trampling a supine mongoose that is vomiting precious gems.
Ganapati is flanked on the upper left by Gelugpa hierarch The 4th Panchen Lama, Losang
Tenpay Nyima (1782 – 1853 AD) and on the upper right by the protector deity, Hayagriva
whose flaming hair holds his characteristic symbol, the horse head. Within the clouds in the
upper register demonic monkeys quarrel over precious gems and in the lower right a wrathful
faced attendant is busy raking up scattered gems.
Ganapati in this wrathful form is actually an emanation of Avalokitesvara, the Bodhisattva of
Compassion and is primarily a wealth deity in tantric Buddhism. The supine mongoose tamed
by Ganapati surrenders his cache of the earth’s wealth. The mongoose is the natural predator
of snakes or Nagas who are believed to control the earth’s riches. Ganapati forces the
mongoose to surrender its accumulated wealth for the betterment of the human condition.
Tibet, Qing Dynasty, Circa 1800 AD
61 x 44 cm
T-1067
Left-hand page: detail
Following two spread: detail
Credits
This catalogue was published to accompany an exhibition presented by
Plum Blossoms Gallery at FINE ART ASIA 2011, Hong Kong which ran
from 2 – 7 Oct 2011.
Plum Blossoms Gallery
G6, 1 Hollywood Road,
Central, Hong Kong
Tel: (852) 2521-2189
Fax: (852) 2868-4398
Email: info@plumblossoms.com
Website: www.plumblossoms.com
Foreword copyright by Stephen McGuinness
Photographed by Keith Chan
Book Design by Keira McGuinness
KM Design Inc.
32 Union Square East
Suite 1106
New York, NY 10003
212-228-5675
keira@km-design.com
www.km-desigm.com
Printed by Asia One Printing Limited
All rights reserved. No part of this book may be reproduced or
transmitted in any form or by any means, electronic or mechanical,
including photocopy, recording or any other information storage
and retrieval system, nor may any part of the book be reprinted
in newspapers or periodicals, used in public addresses, films or
dramatizations or broadcast on radio or television without the written
permission of the artist. This applies as well to all text passages.
ISBN No: 978-988-19829-3-3
72
Rank and Festival Chinese Textiles from the Tang to Qing Dynasties