Analysis on the Cloud Shoulder Pattern of the Yuan Dynasty Fabrics

Liu keyan

School of Donghua University, China

No. 464, Lane 3088 Wenxiang Road, Songjiang District, Shanghai

Mobile Phone:13917645709 E-mail:liukeyan888@126.com

Key Words: Yuan Dynasty, Cloud Shoulder Pattern, Fabrics

Abstract.The cloud shoulder pattern with four weeping clouds shape commonly used for

decorating the parts from collar to shoulder for clothing and shoulder part for blue and white

porcelain can be traced back to persimmon calyx pattern of the Han Dynasty. In the Tang Dynasty,

the pattern of a four-petal leaf as first went for pattern details change and later advanced into cross

flower, developing into the usual pattern decorated on fabrics. Till the Song dynasty, persimmon

calyx pattern combined with Ruyi cloud (auspicious cloud) and was applied to architectures.

However, the Yuan Dynasty’s shoulder cloud pattern with four weeping clouds shape used for

decorating shoulders of clothing or porcelain was generated from combination of Ruyi cloud

persimmon calyx pattern and “Bo” which was used to keep necks from wind and sand for Nomads

in northern part of the country and developed into the cloud shoulder pattern focusing on decorating

the shoulder of clothing and widely was used for nobles’ clothing. Gradually, the pattern was used

for decorating crafts such as blue and white porcelain and gold and silver ware in the Yuan Dynasty.

The cloud shoulder pattern spread from nobles to folks and was popular for decoration.

Cloud shoulder pattern, a kind of distinctive decoration pattern used in the Yuan Dynasty, was used

mainly for decoration of shoulders for clothing and porcelain and ware. The cloud shoulder pattern

is a Ruyi-shaped flower with four blooming petals and decorated with plants and animals within it.

Some scholars believe that cloud shoulder pattern was originated from clothing, some thinks it can

be traced back to architecture. From culture point of view, some thinks it was from Han Nationality

culture, however, some believes it has a mark of Islamism. Based on the existing Yuan Dynasty

fabrics, the article is trying to analyze its origination by considering the pattern of blue and white

porcelain and literatures of the Yuan Dynasty.

1. Review of Cloud Shoulder Pattern in Existing Fabrics of the Yuan Dynasty

1.1 Personally collected “wide low hem gown woven with veiled flower ”1

The neckline of rightward cross-collared gown and the shoulder were woven. The cloud shoulder

pattern with dragons spreading outward was indistinctly available. According to the data from

China National Silk Museum, the size of the cloud shoulder pattern on gown’s back is 94cm in

length, 35cm in width. The pattern in middle part of the back of gown is different due to jointing

two pieces of fabrics. It looks like a flower with four petals from a bird’s eye view.

The feature of the cloud shoulder pattern at shoulder is taking the collar as center and spreading

outward the Ruyi shaped group pattern. Outside of the pattern is a pair of Ruyi shaped coarse and

thin lines, and other pattern is decorated within the lines.

1”Gold.Silk.Fashion.blue and white procelain--Fashion Art in the era of Marco Polo” [M]Hongkong: Yishatang

(Costume)Press,2005,P60

Advanced Materials Research Vols. 821-822 (2013) pp 823-828Online available since 2013/Sep/18 at www.scientific.net© (2013) Trans Tech Publications, Switzerlanddoi:10.4028/www.scientific.net/AMR.821-822.823

All rights reserved. No part of contents of this paper may be reproduced or transmitted in any form or by any means without the written permission of TTP,www.ttp.net. (ID: 128.173.127.127, Virginia Tech University, University Libraries, Blacksburg, USA-17/08/14,07:42:44)

Figure 1. Shoulder of “wide low hem gown woven with veiled flower ”

1.2 Gold woven brocades Buddha clothes cape of the Yuan Dynasty, reserved by the Palace

Museum, has a pair of Ruyi cloud patterns in front and back. The middle part in front of cape is

split and tied. The main part of the Ruyi patter is decorated with dragon and phoenix. The

tortoiseshell pattern is within arch shaped of Ruyi pattern.

1.3 Brocades Fragment of Jade Rabbit Cloud Shoulder woven by gold thread 2

The fragment is from the left shoulder of the gown. This is a scroll grass pattern cloud shoulder

with peony twigs, leaves, flower buds decorated inside the outline. At the center, a jade rabbit

pounding medicine in a mortar under a cherry bay.

Figure 2.

1.4 Brocades Fragment of Luan(a mythical bird like phoenix)- phoenix Cloud Shoulder and deer

shoulder pattern woven by gold thread 3

The fragment has two pieces. The original shape can be guessed via blue and white cloud shoulder

outline. The cloud shoulder pattern mainly displays a phoenix flying over peonies.

Figure 3.

Since the fabrics is so difficult to store that the cloud shoulder pattern on the existing fabrics of

Yuan Dynasty has small proportion. However, the cloud shoulder pattern on the available blue and

white porcelains reserved in domestic and oversea museums are more common, which mainly can

be found on the shoulder of porcelains. The shape is characteristic with spreading for all directions

and Sanqu cloud shoulder pattern, with coarse and thin lines constituting the outline. The inside part

2 “Gold.Silk.Fashion.blue and white procelain--Fashion Art in the era of Marco Polo” [M]Hongkong: Yishatang

(Costume)Press,2005,P48 3 Gold.Silk.Fashion.blue and white procelain--Fashion Art in the era of Marco Polo” [M]Hongkong: Yishatang

(Costume)Press,2005,P49

824 Advances in Textile Engineering and Materials III

is decorated with intertwining peony twigs, lotus, scroll grass and sea water patterns which make

the fabrics not only refreshing due to the white ground beyond the cloud shoulder patter but makes

the blurred pattern on white ground show two visible cloud shoulder patters. This shows that the

effect of two cloud shoulder is achieved by cooperating clear and blurred pattern and distinct

contrast. According to “Distinctive pattern and Fuliangciju and huaju (official kiln) of

Jiangzuoyuan (a job title)”written by Liu Xinyuan, the cloud shoulder pattern first appeared on the

porcelain is originated from imitation of embroidery power sample of “Chenjia”or “cloud shoulder”

on the clothing offered by Jiangzuoyuan. Since officials’ clothing patterns are strictly distinguished

based on officials’ positions, craftsmen try to show a porcelain noble by decorating it with high

grade pattern resulting in the popular use of the cloud shoulder pattern.

2. Pattern Analysis of the Yuan Dynasty Fabrics

2.1 Cross flower with four pedals

The cloud shoulder pattern on the costumes of the Yuan Dynasty features Ruyi weeping clouds

spreading for all directions. The chest, back and two shoulders of clothing are embroidered with a

cloud forming refine patterns around neck and make the costumes resplendent. The location and

function of decoration is similar to the persimmon calyx pattern, a flower with four pedals was

popular in the Han Dynasty. The persimmon calyx pattern can be traced back to the center of

lacquer and bronze wares of the Han Dynasty. Many experts made a lot of intensive analysis on

persimmon calyx pattern. Some experts believe it was “Hou” pattern, which implied” acquire rank

of nobility and become rich” and practical decoration. According to Zhang Pengchuan, the

persimmon calyx pattern applied on the center of wares and architectures symbolized sky.

Persimmon calyx pattern originated from Warring State period and prevailed in the Han Dynasty as

decoration pattern used on canopy, dress and make up box’s cover, bronze mirror and other bronze

wares and also was found on the patio of the Han Dynasty Tomb chamber and chamber door. The

pattern looks like a base of persimmon calyx and is called also persimmon calyx shaped pattern.

Based on “A Note on Renaming Persimmon Calyx Pattern Based on Inscriptions on Two Bronze

Mirrors Dating to Warring States Period” , Li Ling believes the persimmon calyx pattern was

called ”Fang Hua”, flowers with directions, each petals showing a different direction. Therefore, the

flower pattern should be renamed to “Fang Hua” pattern. The pattern of a flower with four petals

was commonly employed on the bronze mirror of Warring States Period. Flowers with four petals

pattern was decorated on the square table built in gold and silver with four dragons and four

phoenixes, unearthed from Zhongshan Tomb of Warring States Period, the four petals were

processed to form Ruyi shape. Therefore, it shows folks of the Han Dynasty were familiar to the

Ruyi shaped flowers with four petals pattern. It seemed that the symmetrical petals were

convenient to draw and favored to craftsmen. However, the four petals pattern didn’t have detailed

decoration and only showed an outline.

The commonly used persimmon calyx pattern with four petals on wares advanced further in the

Tang Dynasty by adding more decorations on the details. The decoration of the Tang Dynasty

featured gold and silver, color and matured embroidering technology and focused on details change.

The persimmon calyx pattern with four petals was widely used on the fabrics of the Tang Dynasty

and pattern changed on the details. Some experts believe the flower pattern looks like a cross

flower. The cross flower pattern can be also found on fabrics and portraits of the Tang Dynasty and

changed a lot. The arc shape of the pattern was enhanced.

2.2 Ruyi cloud pattern

Could pattern can be traced back to the Yun lei pattern decorated on bronze wares of the Shang

and Zhou Dynasties and became a popular pattern in the Han Dynasty. A similar pattern was

applied on architectures. The “dropping fish” on the bargeboard of Nanchan temple, the existing

architecture of the Tang Dynasty showed the Ruyi cloud pattern. Ruyi shaped persimmon calyx

pattern were widely decorated on architectures in the Song Dynasty. According to “The Yingzao

Fashi literally "Treatise on Architectural Methods or State Building Standards", completely stylized

persimmon calyx pattern on architectures was commonly applied on the Pingzuan design. Ruyi

Advanced Materials Research Vols. 821-822 825

cloud also became the common decoration elements for architectures. Besides, the combination

between persimmon calyx pattern and Ruyi cloud became the fixed shape and was widely used,

such as the magnificent Ruyi cloud pattern on mural painting in Xialu temple of the Yuan Dynasty.

In general, Ruyi cloud was widely used on wares, architectures, fabrics and mural painting with its

auspicious implication.

2.3 First origins of “cloud shoulder”

According to “Jin History” section 43.Records. Section 24 Yufu (Part 1), “Titled and royal lady

and imperial relatives……granted imperial carriage and dressings for carriage with sun and moon

decorated on left and right of cloud shoulders, dragon pattern in yellow, saddle with five holes need

to be changed”. Additionally, based on the drawing of“Wen-Chi's Captivity in Mongolia and Her

Return to China”, Wen-Chi wore a cloud shoulder with four weeping clouds around her neck,

which was separate clothing from the gown with half - sleeves and straight neckline. It was

estimated that the type of the costume would be a pullover or back open tied type. It was similar to

the scarf worn around the neck and used to keep warm. However, the clothing system of the Yuan

Dynasty was originated from Jin according to History of Yuan Dynasty. Yufu Record, “when the

Yuan Dynasty was founded, clothing and carriage decorations followed the old customs. Kubla

Khan took the customs from the Jin and Song Dynasty to the Han and Tang Dynasty.”4

According to History of Yuan Dynasty, Yufu Record, Yiwei Decoration colors:”cloud shoulder

was made with four weeping clouds, costumes with five colors and woven by gold” which indicated

clearly the cloud shoulder was made with four weeping clouds and focused on the decoration

function. Nobles’ garments often were decorated with cloud shoulder patterns and could be proved

from the paintings. From the painting of “Kubla Khan Going Hunting”, long gowns wearing by

many nobles on horse were decorated with cloud shoulder patterns. Also cloud shoulder pattern

with four weeping clouds could be found on the shoulders of people in Persia painting “Hulagu

Khan in Shafuerhan”. At Sukhbaatar aimag, Mongolia, men stone statues in the times of Mongolia

Empire were found. We saw cloud shoulder patterns on their clothing shoulders.

From the unearthed clothing fabrics, we found the cloud shoulder has been used for decoration,

such as personally collected “wide low hem gown woven with veiled flower ”. On the shoulder

parts of the rightward cross-collared gown, cloud shoulder pattern with four weeping clouds was

woven and decorated with cloud dragon patterns inside the lines. The costumes designer applied the

weeping clouds shoulder with dragon cloud pattern to decorate the shoulder part. Therefore, the

four petals Ruyi cloud shoulder pattern used on shoulder parts for clothing and wares of the Yuan

Dynasty can be traced back to the common persimmon calyx pattern used on wares of the Han

Dynasty and flourished and developed into the stylized combination of Ruyi cloud and four petals

in the Tang and Song Dynasties. Till the Jin and Yuan Dynasty, the cloud shoulder has its own

definite name and specially was used for decoration of the shoulder parts of clothing and wares.

Figure 4. Ruyi Nest Brocades in Mongolia Period

4 ”Gold.Silk.Fashion.blue and white procelain--Fashion Art in the era of Marco Polo” [M]Hongkong: Yishatang

(Costume)Press,2005,P56

826 Advances in Textile Engineering and Materials III

As a kind of pattern for decorating garment, the image of cloud shoulder pattern appeared on

the shoulder of Guanyin Pusa displayed in the Dunhuang frescoes of Sui Dynasty. The decoration

pattern on the shoulder originated from the practical application. According to the history

documents, brocade scarf was used on the shoulder to keep warm in the Qin Dynasty. According to

Gujin Shiwu Kao, (Examination of ancient and contemporary things and affairs), “there was no

short embroidered cape used for three dynasties, but brocade scarf was appeared in the Qin dynasty;

Silk fabrics was used; Luo was used in the Han dynasty; in the middle of Yongjia, the Jin Dynasty,

brocade scarf shall be worn by titled people as required by the system. In the middle of Kai yuan,

Tang Dynasty, imperial concubines wore brocade scarf. It shows brocade scarf was originated from

the Qin and Jin dynasty.5 The brocade scarf worn on the shoulder was used for nomads in northern

part to keep warm. So the brocade scarf in the early times was popular by northern nations due to

its practical application. With the regime becoming stable, the nomad nobles started to use the

brocade scarf as a decoration. In the Yuan dynasty, it was developed into a kind of pattern on the

shoulder parts. For Ruyi nest flower brocades collected personally in Beijing, the four petals look

like a Ruyi nest and had a close relation with cloud shoulder. It represented that cloud shoulder

pattern used for decoration of the clothing shoulder parts began to develop in a flat manner and

became a spreading Ruyi nest shape. While the three-dimensional cloud shoulder pattern on the

shoulder of wares focused more on the contrast effect. Genghis Khan and his son Ogedei Khan

ordered Muslim weavers at central Asia to come to China to make central Asia style fabrics at the

dedicated weaving and dying bureau. Later, for architectures, Muslim mosques, the patterns of the

Iznik tiles such as Ruyi cloud with refine patterns showed the elements constituting the cloud

shoulder pattern in the Yuan Dynasty. According to Craft and Art History of the Yuan Dynasty

prepared by Shang Gang, the cloud shoulder pattern on the blue and white porcelain of the Yuan

Dynasty was originated from the four weeping clouds on the clothing of honor guards of Emperors

of the Yuan Dynasty. However, for blue and white porcelains, the four weeping clouds often were

simplified to three weeping clouds.6 Zhang Mingdi believes that such change was sourced from the

preference of three according to Tibet customs. However, from my part, “the four weeping clouds”

does not mean the petal has Siqu, but four petals spreading from four directions.

Figure 5. The decoration of Iznik tiles of Muslim mosque

Figure 6. Blue and white octagonal prunus vase with phoenix, worm and grass

5 Wang Sanpin, Gujin Shiwu Kao,(Examination of ancient and contemporary things and affairs), [M] shanghai:

Shanghai Bookstore Publishing House, 1987,P126. 6 Shang Gang, Craft and Art History of the Yuan Dynasty [M]Shenyang. Liaoning Education Publishing House 1999,

P182. 7 Wu Mingdi, Hans-Tibetans arts and crafts communication History[M] China Tibetology Publishing House 2007, P75

Advanced Materials Research Vols. 821-822 827

Conclusions

The development of cloud shoulder pattern with four weeping clouds shape commonly used for

decorating the parts from collar to shoulder for clothing and shoulder part for blue and white

porcelain can be traced back to the persimmon calyx pattern of the Han Dynasty. In the Tang

Dynasty, the pattern of a four-petal leaf as first went for pattern details change and later advanced

into cross flower, developing into the usual pattern decorated on fabrics. Till the Song dynasty,

persimmon calyx pattern combined with Ruyi cloud (auspicious cloud) and was applied to

architectures. However, the Yuan Dynasty’s shoulder cloud pattern with four weeping clouds shape

used for decorating shoulders of clothing or porcelain was generated from combination of Ruyi

cloud persimmon calyx pattern and “Bo” which was used to keep necks from wind and sand for

Nomads in northern part of the country and developed into the cloud shoulder pattern focusing on

decorating the shoulder of clothing and widely was used for nobles’ clothing. Gradually, the pattern

was used for decorating crafts such as blue and white porcelain and gold and silver ware in the

Yuan Dynasty. The cloud shoulder pattern spread from nobles to folks and was popular for

decoration. The cloud shoulder pattern on fabrics developed from the decoration pattern on clothing

shoulder parts to Ruyi nest shape with four petals on fabrics. Islam architecture also marked the

similar cloud shoulder patterns due to the involvement of Muslim weavers on the silk weaving

industry in the Yuan Dynasty.

Author Profile:

Liu Keyan, female, born in October 1974, associate professor, is in-service studying for doctoral

degree in Donghua University and engaged in the research of Chinese traditional pattern on textiles.

(National Science and Technology Supporting Program Topics” Method Analysis on Information

Extraction and Design Materials Rebuilding on Silk Relics” 2013BAH58F01 sponsored)

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Yishatang (Costume)Publishing House 2005. P60

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Archaeological Selected Articles, [M] Ji Nan: Shandong Pictorial Publishing House 2006, P 271-

276

[3] Liu,Xinyuan, Distinctive pattern and Fuliangciju and huaju (official kiln) of Jiangzuoyuan (a

job title), [J]Jingdezhen: a Journal of Jingdezhen Ceramic Institute 1982,10,P9-20

[4] Li,Ling, A Note on Renaming Persimmon Calyx Pattern Based on Inscriptions on Two Bronze

Mirrors Dating to Warring States Period, [J]Beijing: Journal of National Museum of China, July

2012

[5] Zhao,Feng, Embroidery Treasure, [M] Hongkong: Yishatang (Costume)Publishing House 1999

[6] Wang Sanpin & Gujin Shiwu Kao,(Examination of ancient and contemporary things and

affairs), [M] shanghai: Shanghai Bookstore Publishing House, 1987, P126.

828 Advances in Textile Engineering and Materials III

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