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全球拍卖首页 > 齐仕阁Chiswick Auctions > 亞洲藝術 I > Lot 136
A FINE AND RARE DOAIST 'CRANES' TAPESTRY 十八世紀 道教鶴壽延年紋緙絲
英国
05月14日 下午5点 开拍
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A FINE AND RARE DOAIST 'CRANES' TAPESTRY 18th Century 十八世紀 道教鶴壽延年紋緙絲 The fine tapestry, made from coarse wool, with a orange red ground from safflower dye, designed with stripes of alternating colours at both ends, the middle section with a large crane surrounded by four smaller cranes on a printed background depicting various auspicious motifs and vases and jardinieres adorned with various floral arrangements. 120cm x 337cm - PROVENANCE: English Private Collection, London - LITERATURE: Please refer to similar examples in Gonick, Gloria, and John E. Hatherley. Early Carpets and Tapestries on the Eastern Silk Road. 2015, p. 131, another example with brown-ground, p. 141, and also p.143 - NOTE: Further research into this type of textiles suggests that these tapestries were likely produced in Jiangsu province during the 18th century. Their designs show clear connections to earlier tapestries from the Gansu region, which were influenced by Central Asian Manichaean artistic traditions. Jiangsu became a secondary production center for these tapestries following the migration of artisans from the Northwest, a movement that began as early as the Song Dynasty and continued through the Ming and Qing Dynasties into the period of the Chinese Republic. The technique used in Jiangsu mirrors that of the earlier Gansu tapestries; however, notable differences exist. Most significantly, the wool used in Jiangsu was of lower quality. Unlike Gansu weavers, who had access to superior wool, Jiangsu artisans had to rely on the coarser wool of marshland sheep, which was more readily available in their region. Additionally, the motifs began to evolve and most notably, the peacock, a common Manichaen symbol in earlier examples, was replaced by the Daoist crane. The earlier tapestries were likely produced nearby the Tianshui District, where several examples have been discovered in the main temple of the nearby town of Qin’an. These pieces reflect strong Central Asian Manichaean influences, which were likely used in Manichaean religious ceremonies. A small hole in one of the tapestries suggests it may have been worn, possibly secured to the wearer’s clothing or body. Please refer to Gonick, Early Carpets and Tapestries on the Eastern Silk Road, p. 131, where a similar tapestry is shown being worn. Gonick also proposes that the multicolored stripes found in these tapestries served a meditative or visionary function. Over time, individual motifs have become difficult to distinguish due to pigment oxidation. Where visible, the motifs often appear fragmented and sometimes deliberately done. This stylistic choice also aligns with the distorted perspectives found in the 15th Century Manichaean miniatures discovered in Western China. These tapestries were both woven and ink-painted. and the dyes used also help trace their origin; for instance, the presence of safflower-based dye suggests production in Northern Gansu, where safflower was commonly cultivated. Scholars like Von Gabain and Klimkeit have identified many of these motifs as Manichaean in origin, citing their recurrence in Monguor minority costumes and temple paintings in Northwest China. By the 15th century, Daoist imagery began to replace earlier Manichaean symbols and motifs, reflecting broader cultural and religious shifts in the region. Please refer to a similar examples sold at Christie's, New York, 23 June 2006, lot 140 and also Sotheby's, New York, 1 April 2003, lot 132.

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