JV01
Early 20th c. Children’s cap in the form of an orange lion or mythical “qilin”, representing strength and velocity. Most hats such as these had ears to hear evil approaching and large protruding eyes to spot danger. An embroidered back flap was often added to keep the neck protected and warm in cold weather. As you can see here, this beautifully embroidered back flap has become detached from the hat over time. The back flap is embroidered with a butterfly and floral motif in silk and satin. The butterfly is often associated with longevity. Before the advent of modern science and medicine the mortality rate for.Chinese children was very high. Most children did not survive to adult hood and needed all the protective auspicious imagery to ward off the bad spirits who might bring sickness or bad luck. Hat- 4 in. x 4 in. x 7 in. Embroidered Back flap- 5 in. x 6 in.
JV02
Late 19th - early 20th c. An imperial Chinese children’s or infant’s winter hat. Chinese children’s hats were designed to protect the child from sickness, ward off evil spirits, and imbue the child with important qualities such as wealth, health, courage, academic success, happiness and long life. These hats were full of auspicious symbolism. “The Chinese tradition is to cover the newborn from head to toe so the baby does not get sick. The Chinese considered the head a very special part of the human body. The head must be well protected. Often times headwear was a necessary attire in everyday life. “ - from Stories of Chinese Children’s Hats by Phylis lan Lin and Chrisi Lan Lin. This hat is in fair to good condition with some fading and soiling of the fabric, as would be expected of a hat this age. 6 in. x 6 in. x 5 in.
JV03
Early 20th c. Imperial Chinese children or infants hat. Although slightly less ominous in appearance than the last hat, this hat is also meant to physically and metaphysically protect the child’s head from bad weather and evil spirits rendered in the form of a whimsical lion motif. The hat is in good condition with some fading and light soiling of the fabric as would be expected of any magical protective hat of it’s age. 7 in. x 4.5 in. x 6 in.
JV04
Late 19 - Early 20th c. A Han Chinese children's crown with sculptural phoenix or swan with spread wings motif. Headband with hand stitched embroidery and silk ribbon. Additive sections of floral, phoenix leaf and cloud motif embroideries adorn the front. The symbol "Shou" representing longevity is predominantly stitched onto the front brim of the crown. Additive beads and embroidered water symbols adorn the sides near the ears. The phoenix or swan on top is fully realized with a sculpted body, long neck, eyes and beak. Colorful orange satin wings outstretched with differentiated feathers stretched out across the top. Multi-layered applied satin tail feathers stretched out in the back above long black silk tassels. Both the phoenix and swan typically represent cyclical revitalization of life energy and often allude to wisdom, intelligence and loyalty. 6.5 in. x 9 in. x 7.5 in. x 6 in. long tassels
JV05
Early 20th c. Han Chinese wedding or opera coronet or Phoenix crown. Gold thread ribbons and long silk castles. Ornamented with hand stitched silk Phoenix and flower motif. Hollow, uniquely decorated serpent finial with small figure inside making an offering to ward off bad spirits. Han women had no prescribed dress rules, but often wore a coronet or Phoenix crown for very special occasions. They were modeled after the style of those worn by Empresses of earlier Chinese dynasties. 6 in. x 7 in. x 7 in. x 12 in. x 19 in. black castles.
JV06
Early 20th c. 10 in. x 8 in. x 6 in. The Qing Dynasty (1644-1912) was a period rich in cultural heritage, and men's or women’s opera wedding hats, (this likely being a woman’s hat due to the inclusion of the phoenix symbol on the back), were a prominent feature of traditional Chinese opera costumes. These hats, often grand and elaborate, were integral to the performance, symbolizing status, character, and context within the opera narrative. Made from fine materials such as silk, satin, and brocade, these hats were adorned with intricate illustrative and auspicious embroidery, gold thread, and sometimes even pearls or jade ornaments.
The design of the opera wedding hats was deeply symbolic. For instance, high-ranking characters would wear hats with elaborate decorations and bold colors, while lower-ranking characters had simpler designs. Wedding hats, in particular, were notable for their vibrant red color, a hue that symbolizes happiness and good fortune in Chinese culture. The hats often featured motifs such as dragons and phoenixes, representing power and auspiciousness, respectively.
These hats were not just accessories but played a crucial role in conveying the story and the social status of the characters. The actors, through their costumes, including the wedding hats, brought to life the rich traditions and societal norms of the Qing Dynasty. The craftsmanship of these hats reflected the skills of the artisans and the cultural importance placed on theatrical performances in that era.
JV07
Late 19th – Early 20th century. From Northern China. Cotton and Silk Children’s vest w/ multiple auspicious symbols of eternity on back and shoulders, (endless knot), Pear tree and artemisia leaf, (happiness) prominently on front in embroidered gold thread on silk. Black linen and cotton ribbon and trim. The endless knot or eternal knot is a symbolic knot and one of the Eight Auspicious Symbols. It is an important symbol in Tibetan Buddhism, Hinduism, Jainism and Buddhism. The Artemisia leaf is a symbol of healing and health, as well as one on the Daoist "eight precious objects" Fair condition. Usual wear for textiles of this age. 13 in. x 10 in. x 9 in.
JV08
Circa late 19th- early 20th c. late Qing dynasty. Known as a Yun Jian, this rare cloud collar would have been worn by a woman or child for special occasions. White silk with blue red and gold thread embroidery and solid light blue ribbon trim. 5 claw dragons over symbols of ocean waves chasing pearls on both sides. Simple single frog fastener on front to hold together. The pearl is a symbol of wisdom, and the dragon represents prosperity and good luck as well as sometimes being a rain deity when pictured over symbols of ocean waves. This collar was possibly for a funeral or ghost festival or as in Chinese culture of the 19th century and in Chinese culture of today, the color white is associated with death and mourning. It may also have been for a wedding as the color white can also be a representation of purity, innocence, and protection from evil spirits. 16 in. x 7 in. x 26 in. across
JV09
Late 19th - early 20th c. Large red, white and blue child or young woman’s silk robe cloud collar in multiple connected parts embroidered with floral, animal, avian and auspicious symbol motifs. embellished with gold thread. The name “cloud collar” comes from the shape of the collars lobes, or petals, which are often layered. Women and children wore these collars over robes for special occasions. The cloud shape represents abundance. At one time, the neck opening symbolized the sky gate, (the entrance to heaven), and the lobes, pointing in four directions, represented the universe in miniature. 25 in. x 25 in. (33 in. x 33 in. Framed)
JV10
Late 19th - early 20th century. Large red, white and orange antique Chinese child or young woman’s silk robe cloud collar in multiple connected parts embroidered with colorful floral, animal, avian and auspicious symbol motifs. embellished with gold thread and metal studs. The name “cloud collar” comes from the shape of the collars lobes, or petals, which are often layered. Women and children wore these collars over robes for special occasions. The cloud shape represents abundance. At one time, the neck opening symbolized the sky gate, (the entrance to heaven), and the lobes, pointing in four directions, represented the universe in miniature. 25 in. x 25 in. (33 in. x 33 in. Framed)
JV11, JV12
Robe Cloud Collars. (Yun-Jian)
(Left Collar) Two layers stitched together. Top is cream w/ light blue trim. Embroidered bird motif. Bottom is larger w/ white substrate and blue trim. Embroidered with floral patterns and hidden imagery of deers under flaps of top layer. 13 in. H x 13 in. W
(Right Collar) Cream color substrate with ornate trim finishing in patterned blue trim. Embroidered silk and gold thread floral motif throughout. From Beijing. Collars were made separately from the robe or garment. As such, the so-called cloud collars were used much like a necklace, allowing a single collar to be worn over various robes. These are traditional Han Chinese style collars and date to the Qing dynasty period. The background fabric is white silk, bordered with silk or ribbon trim. The collar is very finely embroidered with silk thread using predominantly the satin embroidery stitch. Additional gold threads are used as embellishments. 12 in. H x 12 in.
JV13
Late 19th - early 20th c. Children’s ceremonial head band, circlet or coronet. Deep blue silk with butterflies and floral motif on lang neck covering embroidered in the finest knot or French knot style. Two layers of prefabricated blue and white ribbon for trim. Sharp beak shape at the forehead that comes to a fine point at the nose. Trimmed in blue ribbon and immaculately couched gold. Ear muffs tapered to the crown embroidered with white plum blossoms of winter and trimmed with more gold couching. 8 in. around crown x 10 in. back neck covering x 5.5 in. front
The white plum blossom of winter signifies perseverance and faith in the face of hardship, a courage to lead the way toward spring and hope. In the long tapestry and embroidery of Chinese history, the plum blossom has become its own genre of paintings and poems, one that reflects the noble spirit of the artist through the flower.
JV14
Late 19th - early 20th c. In China, the color red is considered lucky and is often used for children's clothes. This small red cap / hood is not exactly a tiger hat but has many of the same practical functions, (perhaps for an older child). The back would have protected the neck and shoulders from the elements and the interior is padded with cotton to keep the head warm. Although the design is atypical of the region, the hand embroidered bird, butterfly and various floral motifs indicate it may be traditional Miao. Decorated with pink ruffled satin all around rim. Thin blue broken string chin strap inside. 14 in. high x 7 in. across
The Miao are a group of linguistically related peoples living in Southern China and Southeast Asia, who are recognized by the government of China as one of the 56 official ethnic groups. The Miao live primarily in the mountains of southern China. During the Qing dynasty and early 20th century, children's (especially boys') clothing was often decorated in auspicious creatures to protect against evil spirits that might whisk the child away. Whilst this custom has declined in urban areas, it can still found in more rural areas of central China.
JV15
Aprox. Early 20th c. Hand stitched black silk embroidery with simple yet colorful Interior images of dragon boat, waves, flowers, islands and temples and two figures. Interior boarder of prefabricated ribbon with repeating floral and Shou symbol. Red silk trim around edge. Outer border of splendid peonies among vining flowers and repeating auspicious symbols couched in gold. 17.5 in. x 14.5 in.
Throughout history silk substates were made of every weight from gauze to satin, although cotton was also used in a small way. Very fine needles were used, initially made of ivory or bone, later of copper, bronze or steel. Satin stitch was used extensively and couching was also popular as a way to anchor gold and silver threads which could not be sewn directly as they might split the silk cloth. To give a soft texture, to fill in small areas or to define details, the Peking knot stitch was used. It has been called “the blind stitch" because it was said to ruin the eyesight of the embroiderers.
JV16
Apron 20 in. x 14 in.
JV17
Late 19th - early 20th c. Silk embroidery on black satin with traditional Qing costumed make figure with opium pipe on right and female with wedding or special occasion coronet on her head and hand fan in her left hand. Figures are surrounded by two young flying feathered Foo dogs embroidered at top with poppy flowers, lotus flowers, and butterflies below. Prefabricated blue white and red ribbon trim around edges.red gold colored cotton substrate on back. 10.5 in. x 11 in.
The history of opium in China began with the use of opium for medicinal purposes during the 7th century. In the 17th century the practice of mixing opium with tobacco for smoking spread from Southeast Asia, creating a far greater demand. Imports of opium into China stood at 200 chests annually in 1729, when the first anti-opium edict was promulgated. By the time Chinese authorities reissued the prohibition in starker terms in 1799, the figure had leaped; 4,500 chests were imported in the year 1800. The decade of the 1830s witnessed a rapid rise in opium trade, and by 1838, just before the First Opium War, it had climbed to 40,000 chests. The rise continued on after the Treaty of Nanking (1842) that concluded the war. The British East India Company and other British merchants began to import Indian opium into China illegally, demanding payment in silver. This was then used to buy tea and other goods. By 1839, opium sales to China paid for the entire British tea trade.
JV18
Chinese Fine Silk Embroidered Forbidden Stitch Panel. This piece looks like the front of a purse or pocket for a robe or an infant bib and has the finest quality forbidden stitch decoration in bright colors. White silk center with embroidered peonies surrounded by black ribbon and bright blue silk. 10.5 in. x 9 in.
The peony is the most popular botanical motif in China. One of the names for this flower is fuguihua, which literally means “wealth and honor flower.” It has been a symbol of success since the Tang Dynasty in the 7th century. It is often combined with other auspicious symbols to form a more complicated and comprehensive message.
JV19
Late 19th - early 20th c. Antique Chinese dress front / belt tie accessory. embroidered white silk with elaborate bat motif on bottom floating over stylized striated water pattern. Floral pink peonies motif on top. Black ribbon and tight gold couching around trim. The shape of this silk recalls the shape of a tie, but it is not, it was hung over clothes as an ornament. It was likely part of a garment or larger piece such as a robe or apron. 12 in. x 5.5 in.
JV20
Chinese three legged folk toad sachet, with red and green tastes attached with an eternal knot. Embroidered silk with orange trim. Three legged frogs or toads were meant to to expel the five poisons and ward off bad spirits. In Chinese traditional culture, frogs represent the lunar yin, and the Frog spirit Ch'ing-Wa Sheng is associated with healing and good fortune in business, although a frog in a well is symbolic of a person lacking in understanding and vision. The green frog holds a special significance in many spiritual traditions. Its vibrant green color is often associated with growth, renewal, and abundance. Just as the frog undergoes metamorphosis from a tadpole to an adult, it symbolizes transformation and personal growth. 4 in. x 3 in. (Frog), 16 in. (with tassels)
Other stories from Chinese mythology associate the frog with immortality and the moon. In one legend, a chieftain is given the Peaches of Immortality. His wife steals the peaches and flees to the moon. As her punishment, she gains immortality, but is transformed into a frog. Even today, frogs are a vital link to that fable, retaining this connection to immortality although the details of the myth itself might be forgotten.
JV21
Late 19 - Early 20th c. Two pairs of handmade silk embroidered earmuffs. The black satin and linen pair is embroidered with a cherry or plum blossom motif. Both flowers are emblematic of beauty and the passage of time. The blue satin and linen pair are embroidered with numerous Chinese characters, of which I am able to discern a possible few such as, benevolence, knowledge and beauty on one side and perhaps light, wind and moon on the other. If anyone can read these and correct me I would be grateful. Padded, lined and shaped like hearts, earmuffs were stitched onto or attached to headwear and slipped over the ears to keep them warm. Although not specifically confined to any sex or age group they were most commonly worn by girls.
Black pair 4.25 in. x 4 in.
Blue pair 4.5 in. x 3.25 in.
JV22
Late Qing Dynasty. This red silk women's informal imperial robe features circular, colorful embroidered motifs of phoenixes and lotuses, outlined in gold thread stitching. The bottom of the robe is adorned with colorful Lishui (sea waves). The presence of lightfast, intense purple dyes in the Lishui suggests that the robe dates to no earlier than the early 19th century. The robe shows mild wear from use and age. Dimensions: 42 in. x 38 in. (58 in. x 53.5 in. framed).
During the Qing Dynasty, clothing was a primary indicator of rank and wealth. In a highly stratified society dominated by the nobility, great emphasis was placed on social and political standing. Members of society outside the noble family were forbidden from wearing the robes, styles, symbols, or even colors associated with the ruling regime. Phoenixes, such as those seen here, signified association with the empress and other women at court. Traditional Chinese women's robes, varying by region and period, were typically made of red silk, symbolizing good luck and happiness. This robe, with its phoenix motif, indicates it was likely worn by a woman of the late Qing Dynasty for weddings or other special occasions.
JV23