Rank and Festival - Plum Blossoms Gallery
Transcription
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: [email protected] 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 [email protected] 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