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Start Over Collection place Asia Donor Arlene Miller Rolkin
Hearst Museum object titled Cloth textile, accession number 9-13513a,b, described as Textile Strips; ivory colored silk satin, embroidered in pastels and gold with Mandarin ducks, golden pheasant, butterflies, flowers, pond. Geometric meander and flowering vine border. Hems glued later. a, b are mirror images. L. 58 cm. W. 18.5 cm each. China att.; Peking area att. Background: silk; satin weave Pattern area: untwisted silk, gold wrapped silk; satin stitch, couching, stem stitch, Chinese knot. Possibly covers for elbow cushions. Late 19th c. or early 20th c. Symbolism: Mandarin duck - (pair), conjugal fidelity; Golden pheasant - beauty, good fortune, symbol of second grade official; Butterfly - joy, summer; Lotus - summer; Plum blossom - long life, winter; Peony - riches, honor, love, spring; Bamboo - longevity Mary V. Hays; S.F., Ca (personal contact). Williams; Outlines of Chinese Symbolism, pp. 24, 42, 120, 220-222, 282, 284, 296-297
Hearst Museum object titled Cloth textile, accession number 9-13536a,b, described as Textile Strips. Dark blue silk plain weave ground, each embroidered with archaic design of five flower and bat emblems in oranges and yellows, surrounded by blue flowering vines. Border of fourteen straight rows of gold thread. Brocaded blue and gold tape added later. Hem lining of blue silk. b iis stamped "Made in China". L. 65 cm W. 12 cm each a) China, att. b) China Background: silk, plain weave. Pattern area: untwisted silk, gold wrapped silk thread, satin stitch, couching Supplementary: silk, gold wrapped silk, brocade Possibly hem borders of a man's robe. Late 18th c. or early 19th c. Symbolism: Red bat - joy; Sacred fungus - immortality, goodness; Chrysanthemums - steadfastness, autumn Mary V. Hays; S.F., Ca. (personal contact) Williams; Outlines of Chinese Symbolism, pp. 25, 60-61, 293
Hearst Museum object titled Cloth textile, accession number 9-13512a-c, described as Textile Fragments. Strips of white silk gauze, entirely filled with embroidery. Multicolored geometric diaper ground, with scattered flowers in vases, birds, shellfish (?). Black and red satin borders, and pink linings on a and c added later. Some deterioration and cutting along edges. a) L. 39 cm. W. 11 cm. b) L. 37 cm. W 11 cm. c) L. 39 cm. W. 12 cm China att. Background: silk; gauze weave. Pattern area: untwisted silk, natural dyes; counted thread stitches. Supplementary: silk; satin weave, plain weave. Original use unknown. Latter adapted as part of a garment (wedding skirt?), in conjunction with fragment #13511. 18th c. or early 19th c. Mary V. Hays; S.F., Ca (personal contact). Williams; Outlines of Chinese Symbolism, pp. 100-102
Hearst Museum object titled Garment, accession number 9-13554a-c, described as Tape bunches. 8 tapes hang from each green band. Each tape is blue silk satin, embroidered in silver and gold with sea, mountain, dragon, phoenix, flower. Curling motive at bottom edge. Light blue edging and lining on each tape. Worn over sides of a woman’s skirt with honeycomb pleating. Possibly used at weddings. 20th century. Symbolism: Dragon - strength, goodness; Phoenix - peace, prosperity, fertility
Hearst Museum object titled Garment, accession number 9-13524a-c, described as Mandarin squares. Front square in two halves (a,b) to fit on front opening robe. Back single square (c). Black silk gauze ground, partially filled in with silver pheasant and Buddhist symbols: five bats, wheel, umbrella, lotus, jar, fish, conch shell, sun, mystic knot. Also sea, waves, clouds. Multicolored. Decorative border. Blue silk linings. a, b) L. 28.5cm W. 16 cm; c) L. 28.5 cm, W. 32 cm China, att. Background: silk, gauze weave. Pattern area: untwisted silk, gold and silver wrapped silk; counted thread stitches, couches. Supplementary lining: silk, plain weave. Worn on front and back of a man's robe to signify Fifth Grade rank of civil mandarin. Bird faces right, since mandarin's wife was always seated on his right. Other elements of the costume were prescribed as well. Late 19th c. Symbolism: Silver Pheasant - Fifth rank of civil mandarin; Five bats - five blessings, old age, wealth, health, virtue, natural death; Wheel of Law - Buddhist sovereign rule; Umbrella - Buddhist charm, one of eight treasures; Lotus - summer; Jar - one of eight treasures; Fish - abundance, fertility; Conch shell - emblem of the voice of Buddha; Sun - masculine principle in nature; Mystic knot - longevity Mary V. Hays; S.F., Ca. (personal contact) Williams; Outlines of Chinese Symbolism, pp. 25, 73, 149-151, 203, 220-222, 252, 347-348, 381, 392-394
Hearst Museum object titled Ornament, accession number 9-13553, described as Ornament. Circle of strung beads of 2 types. 20 tubular ceramic beads encased in looped silk coverings, in faded color groups of red, green, yellow, blue; 4 wood beads inlaid with mother of pearl and gold paint. Flat metal discs between beads. Small blue interlaced knot above circle, with small loop. Off white interlaced knot below circle, with 2 long silk tassels with fine silver and gold binding. Possibly used as a belt pendant. 19th century
Hearst Museum object titled Ornament, accession number 9-13552, described as Ornament. Vertical row of three large interlaced knots, with three hanging groups of looped cords. Faded pink, red, purple. Some gold binding near loop ends. Metal object with lion face on each side suspended from lower knot. Ornament. Possibly used as a belt pendant.
Hearst Museum object titled Robe, accession number 9-13557, described as Mantle; Rectangle. Eight patches pieced together, with a wide border with mitred corners. Tan silk ground with orange, purple, gold, and flat strap silver brocade in a geometricized floral pattern. Diamond pattern in background. Orange silk lining, also pieced, has some stains and deterioration. Label sewn on lining reads “Clayes, San Francisco”. Late 18th or early 19th century. Buddhist priest’s mantle, fide Mr. Nagasaki of the Tokyo National Museum
Hearst Museum object titled Robe, accession number 9-13556, described as Description: Mantle. Large rectangle, made of 13 patched panels and a wide border. Orange silk ground brocaded in green, blue, white, purple and gold, with geometric, floral, and dragon designs. 4 corner patches and 2 shoulder patches of different fabric - orange with brocaded gold floral pattern. Purple lining, also pieced, shows some deterioration and staining. One decorative knot with two hanging cords is attached to the left shoulder patch. Context of use: A typed white silk label sewn on lining reads: “Old red Nishiki brocade Kesa used for robe of Buddhist temple priest. The brocade and the pattern are highly known as ‘Shokko Nishiki’. This was woven by the famous Nishyin loom, Kyoto, about 125 years ago. It is a fine example of a rare antique Japanese brocade.” Another label reads “Clayes, San Francisco” with a price tag of $400. The mantle dates from the late 18th century. The cloth may have been woven for use by Chinese Buddhists, since the brocade pattern is derived from Tang designs of 700 AD. The patched garment is symbolic of the poverty of Buddha. A greater number of panels (such as this Kesa has) signifies higher rank. The purple lining also shows high rank. The corner patches, or Shi-Tenno, represent the 4 Kings of Heaven and the 4 compass points. The 2 shoulder patches, or Bosatsu, are the 2 disciples of Buddha, Fugen and Monju. The priest in his Kesa represents Buddha and his 2 assistants. The mantle is worn over the left shoulder and under the right arm, and is tied in front.
Hearst Museum object titled Robe, accession number 9-13558, described as Robe. Long tapering sleeves. Center front opening skirt; neckband and apron have tie closing on right side. Neckband is black silk satin. Upper body and sleeves are pieced from curving stripes of light blue and dark brown silk damask, and have deteriorated along shoulder creases. White, blue, and gold deteriorating couched lines on neckband on upper body. Sleeve edges are black silk satin with deteriorating gold brocade. Waist band is green silk satin with center front interlaced satin knot and two hanging tapes. Triangular tapestry aprons in front and back, each with fullface 4 clawed dragon, sacred jewel, sea, clouds in blues and greens on a red ground. Brocade and velvet borders, with one small blue glass ornament on front apron and 2 and a half on back (18 on each originally). Outer edge is white silk satin, painted in green, red, and purple with a dragon face and clouds, all padded with wool. Lower body is all tapestry. Two triangular areas under aprons have cloudlike, multicolored horizontal stripes. Rest of skirt has vertical curving stripes with alternating gold and red grounds. Multicolored leaf and vine pattern in stripes becomes swirls at lower scalloped edge. Black braid couched between each stripe. Pink silk satin lining, deteriorating at neck and front apron. Chinese writing on lining in three places. Deterioration of lower back tapestry edge shows an inner layer of coarse white plain weave wool. Lower skirt and aprons may be from a very old dragon robe, with upper body and padded painting added later. Tapestry areas are Ming designs. Finely woven tapestry, and a very unusual robe, Peking Opera costume, Imperial patronage; Kossu skirt is 17th century, remainder is 18th century (fide John Vollmer of the Royal Ontario Museum, June 1979).

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