Ｃｈｉｎｅｓｅ　Ｓｉｌｋ　ｉｎ　Ｔｉｂｅｔａｎ　Ｂｕｄｄｈｉｓｍ　Ｍｏｎａｓｔｅｒｙ

Ｚｈａｎｇ　Ｋｅｚｈｅｎ

Chinese traditional silk has held a special place in Chinese textile history as its great contribution to the development of economy and culture of all ethnic groups as well as international exchanges. From time immemorial, textile influence has transcended thegeographical border between Tibetans and Han Chinese. Silk becomes an essential part of textiles in Tibetan inhabited regions and plays a profound role in Tibetanslives.Tibetan Buddhism monastery is concentration of local politics, religion, economy and culture. It is for this very reason, that upholsterytextile of monastery is an embodiment of Chinese richest and the most sophisticated brocade, which has also sustained decorative style to the core.

The contact between Tibetans and Hans on silk

In 641AD, Princess Wencheng of Tang Dynasty, being a bride of Tibetan King,brought Chinese traditional textile technique and precious brocade into Tibet. From then on, there exists a silk road, building up the friendship and cultural communication between Tibetans and Han Chinese, displaying prosperous scenery which is vividly described as gold, jade and brocade were all transported along this road, envoys of goodwill went back and forth, traffic was so heavy, and people lead a happy life.

In the Song and Yuan Dynasties, brocade reached Tibet in magnificent number, which exerted a far-reaching influence for Tibetans lives both on material and spirit. Ming and Qing Dynasties are eras that Chinese weaving and embroidery techniques reached the zenith. The Chinese patterned silks, the most prized luxurious fabrics, were second to none in the number of gifts which were vouchsafed by the Chinese emperors, showing how the emperors attached great importance to the relationship with Tibet. In addition, there was large-scale trade of these two ethnic groups importing silk.

In light of the custom of Tibetan Buddhism, the decorative textiles in monasteries, such as textile offerings, hangings, clothing of statues, mounting of sutra and Thangkas, consume tremendous silk. Based on the conservative estimate, a temple spends thousands of pieces of silk at lowest. How striking the number is if add the expenditure of all temples together. Even at present, when we go inside a Tibetan monastery, we will find that it is a world of silk. The hall was gaily decorated with silk brocade banners, cylindrical silks, ceremonial umbrellas, r e l i g i o u s p i c t u r e - s c r o l l s . Consequently, silk talks a big way in upholstery fabric of Tibetan Buddhism. The holy atmosphere of the monastery, constructed by silk brocade, has infected innumerous Buddhists who approach the arts and techniques of Chinese hinterland in a long time. These pilgrims have gradually favored silk, which has turned sacred symbol from material attribute. Therefore, although most of Tibetans can not possess silk for attire or decoration, they can contact silk through pilgrimage in temples and rituals. Thats why the decorative silk art is widespread, and penetrates into in every aspect of Tibetans lives.

The Types of Silk Decorative Fabrics on Tibetan Influence

The decorative fabric of monastery, with silk material, distinctive style, smart design and enormous quantity, is a treasure of the Tibetan Buddhism arts. It comprises four kinds: textile offerings, hangings, attire of statues and mounting material.

1. Textile offerings.

As in a monastery, three kinds of textile offerings are suspended from the ceiling dedicated to deities, with the purpose of displaying sanctity of the ritual and statues. They are called Zhuang, Fan and Gai respectively. Their sizes vary according to the size and height of the room. The first is a cylindrical construction with a red, blue and yellow figured valance at the top, narrow, overlapping vertical panels of brocade at the lower edge. To Tibetan Buddhists minds, Zhuang is able to settle eleven kinds of troubles, symbolizing the extrication from annoyance, signifying the achievement of wisdom. The second has heavy silk fabric with cloud pattern at the top and multicolor scale-like panels of silk hanging below it. In some temples Zhuang is placed on the pillars, playing protective and decorative roles and substituting for hanging Zhuang. The last one is a rectangular canopy made of patterned silk with a valance that hangs from its edges, and joined silk roundels that look like a string of colored pearls, usually suspended from the ceiling in front of the shrine, over the area where dignitaries or living Buddha are seated when they conduct rituals. This textile decoration gave shelter to the patrician on ceremonial occasion in ancient India, hence becomes a symbol of royalty and nobility. With the passage of time, Gai serves to dedicate and adorn deity, together with Fan and Zhuang. Not only have these fabrics mightily impacted vision and shocked soul, but also have shown off the objects adorned.

2. Hanging.

On passing into a Buddhist monastery, Tibetans portiere firstly leap out at people, lending itself to breaking the wind and embellishing the temple. When it comes to Xiangbu, a long banner of narrow brocade panels, it is unique textile wall decoration which is distinguished with other ethnic groups. It is said that these are offerings of silk to the gods. Not only they decorate the walls of the temple, but also protect the previous murals. A new one will hang on a special festival every year. It was not allowed to change before the stipulated date regardless of the change of weather. The employment ofXiangbu combine with teaching of Tibetan Buddhism, adorn and unify the beauty of the architecture and environment, at the same time protecting the frescoes as well. In addition, warm color silks cover the ceiling. There are different styles, such as single-pattern tapestry furnishing the whole ceiling of the hall and variety of brocade being sewn together.

3. Attire of statue.

When we go inside the hall of a monastery, the elegant and rich attire of statues give us strong impression. A large number of them are silk fabrics with floral patterns woven with gold or silver thread. Generally, the deities are dressed in a golden silk robe trimmed with colorful satin and have a brocade cape over their shoulders.

4. Mounting material.

Offering Thangka and sutra is a virtuous action that earns merit, removes all sorts of obstacles from ones life, or brings a better rebirth to a deceased relative. Mounting them with silk represents Tibetans prizing Thangkas and sutra. Because served for mounting material, some pieces of rare brocade made in Ming Dynasty are preserved, whereas the counterparts used in costume and decoration are nothing left. It plays an important role in studying silk art of Ming Dynasty.

Motifs and Colors of Silk Decorative Fabrics

Decorative patterns are so much under the influence of culture of Tibetans and Hans.Consequently they fall into two types: one derived from Tibetan cultivation including pristine religion and Buddhism; the other drank in the silk motifs of interior of China. In the long history of evolution of Buddhism, a large number of designsd hold religious nature, which is nothing less than the unique character and mysterious source of religious decorative textile. “Six holy mantra words”, “Eight auspicious treasures”, “Double deer with low wheel” and other characters and symbols are usually employed into them. Take “Eight auspicious treasures” for example. It refers to eight worship implements, conch shell, lotus, wheel, parasol, endless knot, a pair of golden fishes, banner of proclaiming victory and treasure vase, and is so common in the silk fabrics of Tibetan temples. With the boom of Buddhism and frequent contact between Tibetans and Hans, the culture of Han, especially the vogue for Yun brocade adorning palace plays a vital and ever role of development of Tibetan decorative fabrics. These patterns have a good-luck message and represent the essence of Chinese mascot culture. The brocade with “Eight Immortals”, “intertwined flowers”, “cloud and dragon”, “double dragons playing with pearls” patterns richly d e c o r a t e t e m p l e s a n d monasteries, displaying luxurious and imperatorial style.

Tibetan artists specialize in merge of subjective color and objective color, creating a unique and florid colorific culture. There is a Tibetan saying “Tibet is the hometown of rainbow”. In the perspective of Tibetans, they worship rainbow, because it signifies auspicious omen and revolution of living Buddha. This natural scenery permeates over and penetrates into Tibetan religious upholstery textiles likewise. As a result, a group of colors of high lightness and strong saturation are generally used in fabrics. For instance, pure red, yellow and blue rectangles are parallel to each other. In addition to this, this decorative cloth apply color combination in sharp contrast such as red and green, white and black, yellow and purple, and employ metallic threads, leading to bright and harmonious effects.

Decorative Fabric of Tibetan Buddhism Monastery has survived the numerous generations for its great vigor. In a word, it is a perfect blend of thousands of cultural tradition, national character and religious belief of Tibetan race, is a great non-material cultural heritage of humankind of Tibet.