Weaving a Tapestry of Splendors- Bird and Flower Tapestry of the Sung Dynasty

Tags: art | National Palace Museum | silk tapestry

Silk tapestry is a form of textile art having a long history in China and employing specialized techniques. Unlike other weaving methods in which the vertical (warp) and horizontal (weft) threads extend back and forth completely across the loom, tapestry in China is done on a simple plain-weave loom using a technique in which the warp threads fully extend but the weft ones do not. In fact, the Chinese term for tapestry, k'o, is defined as chih-wei (or "weaving weft") in the ancient dictionary Yü-p'ien (Jade Chapters; written in 543 AD) by Ku Yeh-wang of the Liang dynasty. In other words, the formation of the pattern is based solely on changes in weaving the weft threads, with both sides of the image being the same, only reversed. Since the various adjoining colors in the weft are separate, the result is a saw-tooth gap along the edges of the forms, which is why tapestry is also known as "carved silk."
The principle behind producing a silk tapestry is quite simple, but the actual process is somewhat complex. First, all the warp threads must be fixed to the tapestry loom. Then a model in the form of a painting, for example, is placed underneath the flat and even warp threads, and a brush is used to outline the forms onto the warp. Various colored threads are prepared according to the hues in the original. Separate colors are then installed in the shuttle groove. According to the size and location of the motifs, the shuttle is moved back and forth between the warp threads. Finally, the excess is trimmed to complete the tapestry. Dozens of weaving techniques were developed over the ages to express the various aspects of the original in a tapestry of silk, including "knotting," "flinging," "connecting," "propping," "shuttle joining," "coiling," "warp joining," and "twisting colored thread." Different techniques were skillfully combined according to the original pattern with stitching added for the finer details. Sometimes even touches of ink and colors were brushed on to create certain effects, reflecting the extraordinary variety of expressions possible in the art of Chinese tapestry.
The National Palace Museum is home to a large and unique collection of tapestries, some of the most representative of which date from the Sung dynasty and are mainly on the subject of birds and flowers. The many different approaches to achieving the same goal in tapestry are comparable to intimate works of "sketching from life" in Sung dynasty painting, including aspects of composition, coloring, and expression. In the past, tapestries rarely had been displayed at the Museum, but now in this special exhibition the unique art and craft of Sung dynasty tapestry is being presented, weaving a silken tapestry of splendor in Chinese art for all audiences to understand and appreciate.

True to Life
Tapestry weavers in the Sung dynasty often depicted animal and plant motifs with associations of good fortune, or perhaps a specific person, thing, myth, custom, or legend. Combined to form a picture, such tapestries could serve as birthday gifts or for congratulations. Examples include the peony, symbolizing riches, and periwinkle blossoms for an "everlasting spring" as well as flowers of the seasons to suggest eternal life. Together, they express the idea of "riches in an everlasting spring." Tapestries such as "Spirit Fungi of Immortality" connote the idea of longevity, while the amaranth of "everlasting young" symbolizes eternal youth. Some subjects use homonyms to further enhance their auspicious overtones. For instance, "Phoenixes Calling in Harmony" stands for conjugal bliss and "Joyously Announcing the Birth of a Grandson" utilizes a play on words for the magpie and bamboo shoot to convey its meaning. With beautiful subjects, they express the hopes and desires of people in general. Such works are not only colorful and decorative, but many are also quite naturalistic. On the surface, they record the seasons and certain customs, but they also imply auspicious and celebratory themes for a joyous atmosphere.


Birds and Blossoms
Shen Tzu-fan, Sung dynasty (960-1279)
Hanging scroll, silk tapestry, 95.7 x 38 cm

Depicted against the plain white background of this tapestry is the branch of a flowering peach tree, with some blossoms open and others not. Two spotted-neck doves rest on the branch, one hunched and the other behind it, portraying an intimate scene from nature. The tapestry technique here is exquisite, the buds and blossoms full and realistic as the branches twist about. Traces of ink were also added to the outlines. In the past the silk broke in the knot areas of the branches, exposing the threads and therefore inadvertently enhancing their old, peeling quality. Both in composition and color, this work is faithful to the spirit of naturalism found in bird-and-flower painting of the Sung dynasty.
The signature woven into the tapestry in the lower right reads, "Tzu-fan," which refers to Shen Tzu-fan, a famous tapestry weaver of the Southern Sung (1127-1279) period and about whom little is known. The weaving here is exquisite and thus most likely a painstaking example of Shen's work.



Kingfisher and Autumn Lotus
Anonymous, Sung dynasty (960-1279)
Album leaf, silk tapestry, 24.7 x 25.4 cm

Woven in colors against a light ochre background is this tapestry of a scene from a lotus pond in autumn. A kingfisher is shown perched on a lotus stem looking down with eyes fixed on the fish swimming in the water below. The nimble features of the kingfisher, known for its angling abilities, have been portrayed remarkably true to life, while the water plants, lotus leaves, and leisurely fish are also quite lifelike, adding a sense of naturalness to this work.
The colors here are elegant and realistic. Although the main hues are blue and green, their separation is very refined. The treatment of light and dark colors in the lotus leaves, stems, and water plants are also exceptionally original. The weft threads here appear to be hemp or tussah silk, thus accounting for the relatively lackluster appearance, while the material in the weaving is coarser and heavier. The weaving, however, is compact and detailed for a serene scene from life much in the painterly manner of intimate "sketching-from-life" works of the Sung dynasty.
This is the first leaf in the album "Collected Paintings of the Sung and Yüan."
 

Auspicious Symbols
Tapestry weavers in the Sung dynasty often depicted animal and plant motifs with associations of good fortune, or perhaps a specific person, thing, myth, custom, or legend. Combined to form a picture, such tapestries could serve as birthday gifts or for congratulations. Examples include the peony, symbolizing riches, and periwinkle blossoms for an "everlasting spring" as well as flowers of the seasons to suggest eternal life. Together, they express the idea of "riches in an everlasting spring." Tapestries such as "Spirit Fungi of Immortality" connote the idea of longevity, while the amaranth of "everlasting young" symbolizes eternal youth. Some subjects use homonyms to further enhance their auspicious overtones. For instance, "Phoenixes Calling in Harmony" stands for conjugal bliss and "Joyously Announcing the Birth of a Grandson" utilizes a play on words for the magpie and bamboo shoot to convey its meaning. With beautiful subjects, they express the hopes and desires of people in general. Such works are not only colorful and decorative, but many are also quite naturalistic. On the surface, they record the seasons and certain customs, but they also imply auspicious and celebratory themes for a joyous atmosphere.


Riches in an Everlasting Spring
Anonymous, Sung dynasty (960-1279)
Hanging scroll, silk tapestry, 87.5 x 39 cm

The main flowers in this work are peonies in gorgeous bloom with rose, chrysanthemum, and hibiscus blossoms playing supporting roles that fill the spaces. The riot of pistils and stamens compete with the crisscrossing leaves and branches. The colors are also bright and beautiful, making for a solid scene with a strong decorative effect. The China rose shown here is the periwinkle, which is also known as the "flower of everlasting spring." Its combination with the peony, "king of flowers," connotes the notion of "riches in an everlasting spring."
The multiple colors woven against a blue background are done in a rich variety of light and dark tones. The individual petals of the peonies have been rendered in the "connecting" tapestry method around the edges using red silk thread for highlighting. The petals spread out in a complex arrangement of layers for numerous poses in a realistic manner. The repeated peony petals were done in the "knotting" method of color propping, the layers of colors gradually fading with wash effects. The result is a volumetric yet decorative quality integrating elements of painting methods, weaving techniques, and auspicious content all into one. The mature skill here also makes this work of unparalleled quality.

 


Spirit Fungi of Immortality
Anonymous, Sung dynasty (960-1279)
Hanging scroll, silk tapestry, 94 x 60.3 cm

The colored threads woven against a light ochre background portray a slope with a stream, by which appear crabapple, amaranth, and wild chrysanthemum blossoms. Growing on the right bank are spirit fungi among the grasses. Crape myrtle is shown in full bloom as a pair of birds is perched in the branches. The names in Chinese of the flowers here are all auspicious. The crabapple, for example, is a metaphor for "halls of riches," while the amaranth has the alternate name "beauty in age" and "everlasting youth."
The weft threads in this work are made of fine materials. Not only have the background, blossoms, waves, and some bird feathers been woven in silk threads, the rest are all composed of hemp-like fibers. The coarseness of the crabapple leaves is particularly realistic and true to life. In fact, the materials and techniques here are similar to those in "Joyously Announcing the Birth of a Grandson," probably reflecting a popular weaving method at the time.

 


Dragon Roaming Among Flowers
Anonymous, Sung dynasty (960-1279)
Album leaf, silk tapestry, 22.5 x 31.3 cm

Colored threads woven against a plain background depict a five-clawed dragon with head upright roaming among many blossoms that create a riot of colors and shapes forming a carpet of complexity. The flowers here suggest auspiciousness and luck, symbolizing an orderly change in the seasons and such congratulatory meanings as "riches in an everlasting spring" and "riches in halls of jade."
The skill in the weaving is masterful, the tapestry threads dense with a golden dragon on a background of red threads. Gold threads were then propped to highlight the scales, the dragon's body outlined with dark brown to make it stand out. The lines are round and powerful, so that even though the dragon is concealed within a myriad of blossoms, it's nimble pose is still clearly evident. The shapes of the flowers are gentle and beautiful, the distinctions between the layers rich and clear. Although having the decorative effect of a carpet of flowers, the motifs are still realistic in form, suggesting unlimited life.
This is the first leaf in the album "Collected Brocade of Carved Paintings."

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