He was talking about silk, and the painstaking labor with which the artisans wove and fashioned designs upon it.
"The art of Chinese embroidery predates painting in early China," explains Susann Lara of Arts of Asia Works of Art. "It’s always been considered one of the highest art forms."
The reverence for such craft was not only due to the labor put into it, but for the symbolisms injected in the finished products. Some of the silk pieces produced were used in both the robes and hangings of the Imperial Court in the Forbidden City, which displayed China’s fascination with her ruler’s affiliation with the cosmic forces. For the emperor, for instance, garments would be dyed in bright yellow (imperial yellow); while junior members of the court (a princess or noble person), would sport other shades of yellow or brown (a "lesser yellow"). And while the emperor’s robes or hangings would have to be embroidered with the 12 Symbols of Authority, a mandarin would sport an embroidered mandarin square, or rank badge, to signify his degree of authority.
Unfortunately, robes and hangings that existed before the 19th century are now seldom seen in their complete state. Susann, who scours China and at times the globe for such pieces, says that whole ones are more often than not found in parts. "What they do is retain the preserved sections and frame them." This explains the prevalence of, say, rank badges, women’s sleevebands, or skirt hems encased in glass in most classical (antique) Chinese stores.
Silk tapestries – uncannibalized, beautifully preserved in all their magnificence – are rare, and something that would have any serious collector running after. They might as well head for Arts of Asia.
The shop is featuring for the first time a complete, unrestored Imperial tapestry from the 18th century. "This piece has never been seen before by the general public," Susann states.
Discovered in an out of the way shop in – of all places, Paris – the tapestry is almost 5 feet wide and 11.25 feet long. Featuring the Imperial mother with her ladies-in-waiting, it was used as a type of screen behind the emperor’s throne to keep his mother out of view when she imparted advice and suggestions to her young son (indeed, behind every great man is a woman – most probably his mom!).
"Except for the hair of the Empress, and her girls, and the pants on the little boy, this piece is perfectly intact," says Susann. "You rarely get to see this type of piece today."
The piece portrays symbolic images as well. For example:
• The sun, located between two peacocks, symbolizes heaven and intellectual enlightenment
• The legendary bird phoenix represents good omens and is a symbol of the empress. This mythological sovereign of all birds was also emblematic of marital bliss
• The bowl of peaches for longevity
• The character Ji (the circular character on the border) means luck
• Cloud symbolizes the Gate of Heaven, peace and fortune
• Peacock is splendor, longevity, wisdom and majesty
• Bat stands for graces and blessings
• Foo dogs for imperial guardians
• Peony for wealth and advancement
• Ruyi scepter symbolizes the following of the command
• Ruyi scepter with scroll motif-to symbolize the following of the command "good wishes for a long life and all you desire wish"
• Sacred vase in attendant’s hand holds the water of life and also symbolizes peace
Even the techniques that were employed in making the tapestry were the same used as far back as the 14th century. The Peking knot stitch, sometimes called the Forbidden stitch because it was used on costumes of the Imperial Court, is seen on the peacock. Couching, a technique in which threads were laid down on the material and tacked down with fine stitching, is also used on this piece. The usual thread used for couching was gold-wrapped silk floss (raw silk yarn covered with 24-carat gold leaf). The hair of the empress and the little boy’s pants were done in this delicate stitch, hence its relatively swift wear-and-tear.
Aside from this rare Imperial piece, Arts of Asia likewise has 19th-century robes, caps, shoes, collars, skirts and sleevebands to display the intricacy and beauty of Chinese embroidery.
Interested audiences may visit the Arts of Asia Makati branch at 11 Jupiter St. (Urban Annex Building).
On display too at Arts of Asia are screens from the Qin (18th century) dynasty. Screens were developed from sheer need; they were built to protect one from draughts and excess heat from open fires. They also served as walls – as old Chinese homes had just basically four perimeter walls – divisions for special rooms such as the dining and sleeping areas.
It was a most versatile piece of furniture because it was hinged and could be folded up and stored no matter how large it was. The screen’s place was at the heart of the household, so its quality reflected the status of the owner. They were made from a variety of materials – wood, leather, paper, or even silk.
The shop also features magnificent huanghuali (the king of Chinese hardwood) chest on chest cabinets. Susann likes to share that though pieces made of younger huanghuali wood may still be available in the near future, those made from trees 300 years or older – such as this cabinet – are sure to be "all gone" in the next 10 years. One can identify real huanghuali pieces by their distinct smell, a scent not unlike camphor. There are many ways to detect reproductions and fake pieces, this serious collector adds. Methods you may be lucky to gather from Susann herself should you drop by the Makati branch.
But that is a different story altogether.
Arts of Asia Makati is open every day from 10 a.m. to 8 p.m. Other branches are located at 4th floor of SM Megamall B and at the Promenade of Ayala Town Center.
For inquiries, call 899-38-02 and 895-79-07.