Flowers, Dragons, and Pine Trees: Asian Textiles in the Spencer Museum of Art

Exhibition

Exhibition Overview

Flowers, Dragons, and Pine Trees: Asian Textiles in the Spencer Museum of Art
Flowers, Dragons, and Pine Trees: Asian Textiles in the Spencer Museum of Art
Mary Dusenbury, curator
January 28, 2006–May 28, 2006
Kress Gallery and South Balcony, Spencer Museum of Art, University of Kansas, Lawrence, Kansas

Stacked in boxes and accessible only by ladder, the Asian textile collection at the Spencer Museum was virtually hidden from public view for almost eighty years. Flowers, Dragons, & Pine Trees is the result of fifteen years of quiet work behind the scenes to research, clean, conserve, re-house, photograph, publish and exhibit this little known section of the museum's collections.

The exhibition focuses on 90 textiles from India, Iran, China and Japan, including:

* Persian velvets and brocades Kashmir shawls Embroideries of northwest India and Pakistan Chinese court/official costume and Han and Manchu women's formal and informal dress Buddhist and Daoist costume and temple furnishings

* Japanese cotton and bast fiber costume, furnishings, and festival textiles

The core of the Asian textile collection was part of Sallie Casey Thayer's original 1917 gift to the University of Kansas of 7,500 objects of Western and Asian art--a gift that founded the KU art museum. Throughout the twentieth century, the Asian textile collection grew almost exclusively through occasional gifts--some magnificent, others modest--until the 1990s, when the museum actively began to seek out a few key objects. In Asia, textiles were important. Worth their weight in gold, luxury silks traversed the trade routes that linked East Asia with the Mediterranean, carrying technical knowledge and new design ideas within their structures. A venerated Buddhist abbot's robe was believed to incorporate his essence and, long after his death, was preserved as a sacred treasure by his followers. In northwest India, women embellished and protected their households and family with layers of embroidered textiles whose strong colors and vibrant patterns stood in sharp contrast to the surrounding desert. A lively interplay (and competition) between designers and craftsmen in Kashmir, France, and Great Britain transformed a simple man's sash into the opulent woman's Kashmir shawl that remained at the height of fashion for an astonishing 75 years, throughout most of the nineteenth century.

The Spencer's Asian textile collection represents great geographical breadth as well as diversity of function, technique, and patronage. The approximately 300 objects include court, merchant, military, theatrical, and folk costume, temple and household furnishings, and numerous discrete pieces of complex weaving, embroidery, and dyeing. The textiles range in date from the fifteenth to the late twentieth century. The largest number come from China, followed by Japan, the Indian subcontinent, Iran, Indonesia, Central and West Asia, and Korea.

The exhibition is made possible by the generosity of the David Woods Kemper Memorial Foundation, the Breidenthal-Snyder Foundation, Dave and Gunda Hiebert, the Kansas Arts Commission, a state agency, and the National Endowment for the Arts, a federal agency. Additional support provided by corporate sponsor The World Company. The Spencer also received a great deal of support for conserving, researching, photographing and publishing the collection. We are grateful to the Institute of Museum and Library Services, the Andrew W. Mellon Foundation, The Japan Foundation, the Getty Grant Program, the E. Rhodes and Leona B. Carpenter Foundation and the Blakemore Foundation. A complete catalogue of the Spencer's Asian textiles collection, authored by Mary M. Dusenbury, guest curator of Asian art and organizer of the Flowers, Dragons, & Pine Trees exhibition, was published in fall 2004 by Hudson Hills Press and is available for purchase in the Spencer's Museum Shop

This exhibition was organized for the Spencer Museum of Art by guest curator Mary Dusenbury in conjunction with the publication Flowers, Dragons and Pine Trees: Asian Textiles in the Spencer Museum of Art published by Hudson Hills Press. The exhibition is funded in part by the David Woods Kemper Memorial Foundation, Breidenthal-Snyder Foundation, and Dave and Gunda Hiebert.
The World Company, Corporate Sponsor.

Comprising some three hundred objects, the collection of Asian textiles in the Spencer Museum of Art at the University of Kansas has remained a hidden treasure since its inception nearly a century ago. This small but important collection, which includes textiles from East, South, and Central Asia dating from the fifteenth through twentieth centuries, displays remarkable geographical breadth, great diversity of technique, and a broad range of functions. With highlights including late Persian textiles, Indian embroideries, Kashmir shawls, Chinese court costume, and Japanese folk garments, the Spencer's Asian textiles are rich in history and design, offering a wealth of information and beauty.
The Spencer's South Asian textiles represent both the consummate skill of professional craftsmen and the vivacity of folk designs. The latter may be seen in profusion on the embroideries of Northwest India and Pakistan, while the former is embodied in the Kashmir shawl, the fine garment of meticulous workmanship that swept Europe by storm in the late eighteenth and nineteenth centuries.
Chinese textiles, with nearly 140 pieces, form the single largest group of Asian textiles in the collection. The court robes and rank badges, women's garments, sleeve bands and other objects also share a profound visual language of great antiquity, with symbols drawn from Buddhism, Daoism, and native folk belief. Many of these symbols are also found on Japanese textiles, although simple, geometrically patterned garments of indigo-dyed cotton or hemp form an equally important and interesting part of this group. Innovative and unique dyeing methods, used on a variety of garment types, futon covers and other accessories, are hallmark of Japanese textile design, while bast fibers and distinctive stitching techniques characterize the textile traditions of rural areas far from the capital.

Exhibition images

Works of art

龍袍 longpao (dragon robe), 1800s, Qing dynasty (1644–1911)
woman's vest, 1800s, Qing dynasty (1644–1911)
Toyohara Kunichika
Toyohara Kunichika
Toyohara Kunichika
Toyohara Kunichika
kesa (priest's robe), late 1600s, Edo period (1600–1868)
Toyohara Kunichika
phoenix rank badge, late 1400s–early 1500s, Ming dynasty (1368–1644)
Toyohara Kunichika
katagami stencil for a yukata or kimono, Meiji period (1868–1912) or Taisho period (1912–1989)
Toyohara Kunichika
woman's jacket, early 1900s, Qing dynasty (1644–1911)
Toyohara Kunichika
man's long pao (dragon robe), 1800s, Qing dynasty (1644–1911)
Toyohara Kunichika
wedding robe with butterflies, late 1800s, Qing dynasty (1644–1911)
Toyohara Kunichika
chao fu (audience robe), circa 1821–1851, Tao Kunag period, Qing dynasty (1644–1911)
Toyohara Kunichika
wedding obi, Meiji period (1868–1912)
Toyohara Kunichika
egret rank badge, 1800s or 1900s, Qing dynasty (1644–1911)
Toyohara Kunichika
textile fragment, 1600s, Safavid dynasty (1501–1732)
Toyohara Kunichika
white-on-white embroidered fabric, 1800s or early 1900s
Toyohara Kunichika
katagami stencil for a yukata, circa 1826–1834, Edo period (1600–1868)
Toyohara Kunichika
Kashmir shawl, 1820s
Toyohara Kunichika
Kashmir shawl, circa 1815–1830, Afghan period
Toyohara Kunichika
woman's shawl (abocchnai), late 1800s or early 1900s
Toyohara Kunichika
Toyohara Kunichika
Toyohara Kunichika
woman's headcloth, 1800s–early 1900s
Toyohara Kunichika
Toyohara Kunichika
woman's tunic (aba), 1800s–early 1900s
Toyohara Kunichika
woman's tunic (aba), 1800s–early 1900s
Toyohara Kunichika
child's hooded cap, 1800s–early 1900s
Toyohara Kunichika
woman's headcloth (orhni), 1800s–early 1900s
Toyohara Kunichika
embroidered cloth, 1800s–early 1900s
Toyohara Kunichika
Kashmir shawl, 1825–1850
Toyohara Kunichika
Kashmir shawl, circa 1870
Toyohara Kunichika
Daoist priest's robe (jiangyi), late 1800s or early 1900s, Qing dynasty (1644–1911)
Toyohara Kunichika
obi, 1500s–1800s
Utagawa Hiroshige
#75 神田紺屋町 Kanda Konya-chō (Dyer's District in Kanda), 1857, 11th month, Edo period (1600–1868)
Utagawa Hiroshige
woman's coat, 1800s, Qing dynasty (1644–1911)
Utagawa Hiroshige
woman's robe, early 1900s, Republic of China (1911–1949)
Utagawa Hiroshige
wedding obi, mid 1900s, Showa period (1926–1989)
Utagawa Hiroshige
Utagawa Hiroshige
futonji panel, 1800s or 1900s
Utagawa Hiroshige
yukata panel, 1800s–1900s
Utagawa Hiroshige
nizuri (vest), early 1900s
Utagawa Hiroshige
kogin overgarment, late 1800s, Meiji period (1868–1912)
Utagawa Hiroshige
woman's jacket, mid-late 1800s, Meiji period (1868–1912) or Taisho period (1912–1926)
Utagawa Hiroshige
child's furisode (formal kimono), early 1900s, Meiji period (1868–1912)
Hekizan
Boy's Day Banner (nobori), early 1800s–mid 1800s, Edo period (1600–1868)
Hekizan
yogi (night garment), late 1800s or early 1900s, Meiji period (1868–1912)
Hekizan
kimono, late 1800s–1945
Hekizan
bingata fragment, mid 1800s, Edo period (1600–1868)
Hekizan
obi, 1700s or 1800s, Edo period (1600–1868)
Hekizan
child's long pao (dragon robe), late 1700s or early 1800s, Qing dynasty (1644–1911)
Hekizan
fukusa (ceremonial gift-wrapping cloth), late 1700s or early 1800s, Edo period (1600–1868)
Hekizan
fukusa (ceremonial gift-wrapping cloth), late 1700s or early 1800s, Edo period (1600–1868)
Hekizan
fukusa (ceremonial gift-wrapping cloth), late 1700s or early 1800s, Edo period (1600–1868)
Antony Berrus
woman's long pao (dragon robe), 1800s, Qing dynasty (1644–1911)
Antony Berrus
sleeve border, 1800s, Qing dynasty (1644–1911)
Antony Berrus
sleeve border, 1800s, Qing dynasty (1644–1911)
Antony Berrus
sleeve border, 1800s, Qing dynasty (1644–1911)
Antony Berrus
pair of sleeve borders, 1800s, Qing dynasty (1644–1911)
Antony Berrus
sleeve border, 1800s, Qing dynasty (1644–1911)
Antony Berrus
woman's pleated wedding skirt, 1800s, Qing dynasty (1644–1912)
Antony Berrus
woman's pleated wedding skirt, Qing dynasty (1644–1912)
Antony Berrus
woman's pleated skirt, Qing dynasty (1644–1911)
Antony Berrus
pair of skirt panels, 1800s, Qing dynasty (1644–1911)
Antony Berrus
woman's robe, late 1800s, Qing dynasty (1644–1911)
Antony Berrus
woman's vest, 1800s, Qing dynasty (1644–1911)
Antony Berrus
woman's jacket, 1800s, Qing dynasty (1644–1911)
Antony Berrus
sleeve border, 1800s, Qing dynasty (1644–1911)
Antony Berrus
sleeve border, 1800s, Qing dynasty (1644–1911)
Antony Berrus
textile fragment (left selvage), 1800s, Qajar period (1794–1925)
Antony Berrus
textile fragment (right selvage), late 1800s, Qajar period (1794–1925)
Antony Berrus
ceremonial horse cover, early 1700s, Safavid dynasty (1501–1732)
Antony Berrus
textile fragment, 1800s, Qajar period (1794–1925)
Antony Berrus
textile fragment, early 1700s, Safavid dynasty (1501–1732)
Antony Berrus
textile fragment, 1700s or 1800s, Qajar period (1794–1925)
Antony Berrus
textile fragment, 1800s, Qajar period (1794–1925)
Antony Berrus
carpet, 1880–1890, Qajar period (1794–1925)
Antony Berrus
rug, 1800s, Qajar period (1794–1925)
Antony Berrus
sample book, 1800s, Edo period (1600–1868) or Meiji period (1868–1912)
Antony Berrus
katagami stencil for a yukata, Meiji period (1868–1912) or early Taisho period (1912–1926)
Antony Berrus
katagami stencil for a yukata, late Meiji period (1868–1912) or early Taisho period (1912–1926)
Antony Berrus
katagami stencil for a yukata, 1800s or 1900s, Meiji period (1868–1912) or Taisho period (1912–1926)
Antony Berrus
kasuri futonji panel, 1800s or 1900s
Antony Berrus
kasuri futonji panel, 1800s or 1900s
Antony Berrus
kasuri futonji panel, 1800s or 1900s
Antony Berrus
kasuri futonji panel, 1800s or 1900s
Antony Berrus
panel, late 1800s or early 1900s, Meiji period (1868–1912)
Antony Berrus
two cranes panel, early 1900s
Antony Berrus
Kashmir shawl, circa 1840
Antony Berrus
Kashmir shawl, circa 1875–1899
Antony Berrus
Kashmir shawl, circa 1875–1899
Antony Berrus
Kashmir shawl, 1800s
Antony Berrus
Kashmir shawl, 1800s, Sikh period (1819–1846)
Antony Berrus
Kashmir shawl, mid 1800s
Inoue Ryōsai
vase, before 1893
Inoue Ryōsai
vase, circa 1900, Qing dynasty (1644–1911)
Inoue Ryōsai
sleeve border, 1800s, Qing dynasty (1644–1911)

Events

January 27, 2006
Social
Gallery 317 Central Court
February 11, 2006
Activity
Gallery 317 Central Court
February 12, 2006
Activity
1:00–3:00PM
Gallery 317 Central Court
February 12, 2006
Screening
3:00–4:30PM
Gallery 317 Central Court
February 16, 2006
Screening
6:00–8:43PM
309 Auditorium
February 18, 2006
Workshop
10:30AM–12:30PM
Gallery 317 Central Court
February 18, 2006
Talk
12:30–1:30PM
Gallery 407
February 23, 2006
Talk
12:15–1:15PM
Gallery 407
February 23, 2006
Screening
7:00–9:00PM
309 Auditorium
February 25, 2006
Workshop
10:30AM–12:30PM
Gallery 317 Central Court
February 25, 2006
Workshop
1:30–3:30PM
Gallery 317 Central Court
March 2, 2006
Performance
5:30–6:30PM
Gallery 317 Central Court
March 3, 2006
Talk
9:00AM–12:00PM
Gallery 407
March 9, 2006
Screening
7:00–9:00PM
309 Auditorium
April 1, 2006
Workshop
Gallery 317 Central Court
April 1, 2006
Workshop
1:30–3:30AM
Gallery 317 Central Court
April 1, 2006
Workshop
10:30AM–12:30PM
Gallery 317 Central Court
April 9, 2006
Activity
1:00–3:00PM
Gallery 317 Central Court, Gallery 407
April 12, 2006
Talk
3:00–5:00PM
April 19, 2006
Talk
3:00–5:00PM
April 20, 2006
Talk
7:00–8:00PM
309 Auditorium, Gallery 317 Central Court
April 21, 2006
Talk
Gallery 317 Central Court
April 26, 2006
Talk
3:00–5:00PM
April 27, 2006
Screening
7:00–9:00PM
309 Auditorium
May 4, 2006
Social
6:00–8:00PM
Gallery 317 Central Court
May 6, 2006
Workshop
1:30–3:30PM
Gallery 317 Central Court

Resources

Audio

Didactic – Art Minute
Didactic – Art Minute
Episode 63 Feb-2006, Mar-2006, Nancy Hernandez I’m David Cateforis with another Art Minute from the Spencer Museum of Art. On view through May 28th is Flowers, Dragons, & Pine Trees, an exhibition of the Spencer’s Asian textiles collection. Visiting this exhibition is like taking a trip through space and time without boarding an airplane. In the Indian section, an early 20th century child’s red satin cap from the deserts of Kutch features a design inspired by royal gardens, with courtly women, peacocks, parrots, elephants and, of course, flowers. Floral motifs continue in the Iranian section, in 17th and 18th century textile fragments woven of silk, with gold and silver threads. Lively dragons adorn official Chinese garments while pairs of meticulously rendered butterflies flit over a young woman’s red wedding robe. In some parts of Japan, newlyweds slept under an outsized padded kimono called a yogi or “night garment.” A yogi in the Japanese section is deep indigo with a colorful rendition of a phoenix swooping down to bring blessings to the young couple. After viewing this sumptuous textile exhibition you really feel as if you’ve traveled somewhere…if only in your mind. With thanks to Nancy Hernandez for her text, from the Spencer Museum of Art, I’m David Cateforis. Episode 66 Apr-2006, Mary Dusenbury I’m David Cateforis with another Art Minute from the Spencer Museum of Art. Ten richly patterned shawls from Kashmir and the Punjab illustrate the development of an important, luxury trade textile. On view through May 28th in the museum’s Kress Gallery, the shawls were woven from pashmina, a fiber gleaned from the soft undercoat of cashmere goats living high in the Himalayas. In India, Kashmir and Iran, male rulers and courtiers wore minimally decorated Kashmir shawls as turbans, sashes and shawls. In the late 1700s traders introduced the shawls to Europe, where they were adopted by women and quickly evolved into voluminous, richly decorated accessories that remained at the height of fashion for a remarkably long time-from the early 1800s to the mid-1870s. Motifs that began as realistic depictions of flowers developed into bent-tip cones, which gradually become larger and more abstract until their intricate, swirling shapes filled the space. The bent-tip cone motif is commonly known today as “paisley.” The name comes from a town in Scotland that produced less costly imitations of the painstakingly created originals from Kashmir. With thanks to Mary Dusenbury for her text, from the Spencer Museum of Art, I’m David Cateforis.
Didactic – Art Minute
Didactic – Art Minute
Episode 63 Feb-2006, Mar-2006, Nancy Hernandez I’m David Cateforis with another Art Minute from the Spencer Museum of Art. On view through May 28th is Flowers, Dragons, & Pine Trees, an exhibition of the Spencer’s Asian textiles collection. Visiting this exhibition is like taking a trip through space and time without boarding an airplane. In the Indian section, an early 20th century child’s red satin cap from the deserts of Kutch features a design inspired by royal gardens, with courtly women, peacocks, parrots, elephants and, of course, flowers. Floral motifs continue in the Iranian section, in 17th and 18th century textile fragments woven of silk, with gold and silver threads. Lively dragons adorn official Chinese garments while pairs of meticulously rendered butterflies flit over a young woman’s red wedding robe. In some parts of Japan, newlyweds slept under an outsized padded kimono called a yogi or “night garment.” A yogi in the Japanese section is deep indigo with a colorful rendition of a phoenix swooping down to bring blessings to the young couple. After viewing this sumptuous textile exhibition you really feel as if you’ve traveled somewhere…if only in your mind. With thanks to Nancy Hernandez for her text, from the Spencer Museum of Art, I’m David Cateforis. Episode 66 Apr-2006, Mary Dusenbury I’m David Cateforis with another Art Minute from the Spencer Museum of Art. Ten richly patterned shawls from Kashmir and the Punjab illustrate the development of an important, luxury trade textile. On view through May 28th in the museum’s Kress Gallery, the shawls were woven from pashmina, a fiber gleaned from the soft undercoat of cashmere goats living high in the Himalayas. In India, Kashmir and Iran, male rulers and courtiers wore minimally decorated Kashmir shawls as turbans, sashes and shawls. In the late 1700s traders introduced the shawls to Europe, where they were adopted by women and quickly evolved into voluminous, richly decorated accessories that remained at the height of fashion for a remarkably long time-from the early 1800s to the mid-1870s. Motifs that began as realistic depictions of flowers developed into bent-tip cones, which gradually become larger and more abstract until their intricate, swirling shapes filled the space. The bent-tip cone motif is commonly known today as “paisley.” The name comes from a town in Scotland that produced less costly imitations of the painstakingly created originals from Kashmir. With thanks to Mary Dusenbury for her text, from the Spencer Museum of Art, I’m David Cateforis.

Documents