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Figure 1. Panel with Phoenixes and Flowers. 14th Century. Silk and metallic thread embroidery on silk gauze, 56
3/8 x 53 in. Metropolitan Museum of Art, New York.

“Panel with Phoenixes and Flowers” is a Chinese embroidered textile that bares period

typical details and attributes, reflecting the socio-political climate and history that lead to said

design attributes. Historically the role of Chinese silks and textile techniques was of great value

and importance to Chinese economy and decorative arts. In this specific textile, embroidery

incorporating metallic threads is the main practice expressed and represented in what is assumed
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to be a canopy in possession by Mongol rulers (Metropolitan Museum of Art). Embroidery in

this instance becomes a mode of expressing not only status and luxury but as well as a means of

conveying themes of power and spirituality significant to 14th century Chinese culture.

The canopy is dated to the Yuan period as it is in direct conversation with a stone relief

carving found at a Daoist temple, the Fushouxingyuan Guan, in the city of Dadu (Wardwell &

Watt. 196). Additionally it bares popular motifs of the Yuan dynasty such as the depiction of two

different species of phoenixes (Wardwell & Watt. 196). It is suggested to have been used in the

tent of a prominent Mongol family, thus implying it is Mongol patronage that commissioned or

purchased this complex and ornate embroidery. Early 14th century China experienced “enormous

expenditures associated with imperial patronage of Buddhism by Mongol rulers” (Wardwell &

Watt. 166) as noted by the direct reference to the previously referenced Daoist temple in Dadu.

The Mongol Empire valued embroidery much like other Chinese textiles as the Mongol Empire

is noted to have been the vehicle of trading textile goods across Asia and even Europe (Priest &

Simmons. 18). In this context, since the phoenixes are direct references to the relief work found

at the Fushouxingyuan Guan temple this further supports that the patron would be a domestic

ruler, either Chinese or Mongol given the time period, familiar with a spiritual landmark and

motif references.

Materials incorporated demonstrate the immense detail as well as the amount of labor

required to create such a body of work. The embroidery sits on top of a gauze, a weave type that

is also known as a “leno weave, in which the warp threads instead of lying parallel are arranged

in pairs which twist between the wefts” (Rhee. 8). Most distinguished are the gold threads used

to construct the two phoenixes, the four cases in the upper and lower corners, floral motifs and
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the framing border. Metallic threads were often made by creating flat gold strips to work around

the threads however “[the] method of wrapping gold foil on silk thread was subsequently

evolved by the Chinese…but both [methods] were used lavishly in brocades and

embroideries” (Rhee. 7). It isn’t clear which specific method was used to create the threads

however it still establishes a presence of the distinct Chinese practice and use of gold in

embroidery. The embroidery work utilizes a variety of stitches in the various forms presented on

this surface. Long, short and satin stitches fill the flowers, leaves and clouds and the use of “an

unusually thick paper substrate for the gold threads is probably a deliberate measure to raise the

gold patterning and to achieve the effect of relief” (Wardwell & Watt. 196), a hallmark of Yuan

decorative art.

Forms and details in this textile are more than decorative features and represent range of

expressions on traditional Chinese spirituality and beliefs. Without the context of this canopy

likely belonging to a ruling Mongol family this textile is evidently created for a patron of

profound political standing and wealth as the two golden phoenixes allude to power and royalty.

Phoenixes generally symbolize good fortune and are referred to as the “‘king of birds’” (British

Museum. 3). While the phoenixes are references to a stone relief work found at a Daoist temple

in Dadu, the phoenixes exist as figures of the heavens regardless of the original imagery. The

auspicious clouds surrounding the phoenixes frames them and serves to show that they are not

flying in the grounded human realm but rather are higher beings. Vases in textiles are a Sino-

Tibetan motif (Wardwell & Watt. 196) symbolizing treasure and wealth, the vases in the corners

of this work are made more Sino-centric as evident in the presence of handles and a “foot” to the

base. The flowers’ stems curl around the surface, spiraling out of the vases. It’s likely the flowers
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depicted are orchids, peonies, chrysanthemum or lotuses as such were popular motifs in Chinese

decorative art (Rhee. 19). Phoenixes representing peace and prosperity integrated with natural

forms creates a scene of harmony which would have been suitable for a canopy one would

display in their space of living.

The canopy bares multiple motifs and techniques commonly incorporated in 13th century

Chinese textiles, more specifically in Chinese embroidery art. The function of the textile as a

decorative art object along with the ornate and refined detail in the needlework indicates the one

who possessed this good was of a high social status and wealth. Various aspects of the textile

emphasize the amount of labor and refined skill required to produce such a piece and further

establish it’s socio-economic cultural relevancy.

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Work Cited

“Chinese Symbols.” The British Museum, 2008, projects.britishmuseum.org/pdf/

chinese_symbols_1109.pdf.

“Panel with Phoenixes and Flowers.” Metropolitan Museum of Art, www.metmuseum.org/art/

collection/search/39736.

Priest, Alan, and Simmons, Pauline. Chinese Textiles: an Introduction to the Study of Their
History, Sources, Technique, Symbolism, and Use. Metropolitan Museum of Art, 1934.

Rhee, Kyung Hee, "Original textile designs based on oriental influences using weaver-controlled
techniques " (1977). Retrospective Theses and Dissertations. 7974. https://lib.dr.iastate.edu/rtd/
7974

Wardwell, Anne E, and Watt, James C. Y. When Silk Was Gold: Central Asian and Chinese
Textiles. Metropolitan Museum of Art in Cooperation with the Cleveland Museum of Art, 1997.