Depictions of birds on textiles were often inspired by paintings and literature, and also by thorough observation of nature. Textile decorations specifically including flowers and birds originate from huaniao paintings (花鳥畫 – “flowers and birds”), which became popular in China already during the rule of the Tang Dynasty (618–907), but gained particular social significance near the end of the Northern Song Dynasty (960–1127).
In Chinese art, birds were often pictured in pairs. Every pair of birds or other animals of the same or similar size were interpreted as male and female – the essential basis of an organized Confucian society.
Chinese artists usually depicted the male with lighter or more splendid plumage and the female with darker and more subdued colors. The active bird represented the Yang element, while the resting one indicated the passive Yin.
In the Ming Dynasty period, badges of civil officials bore depictions of pairs of birds, one of which was presented in flight, while the other was shown on a rock formation or on the ground amidst flowers.
Birds were also an embodiment of the filial piety concept (xiao 孝) - one of the five cardinal virtues of Confucianism. Filial piety had a strong influence on the formation of Chinese values and behavior in every aspect of life, from education to art and shaped almost every aspect of Chinese social life: the attitude towards rulers, living models, original concepts, marital practices, gender preferences, emotional life, religious cult and social relations.
In the Confucian context, longevity was seen as a proof of virtue granted by the heavens to those who deserved it. The white feathers of cranes, associated with old age, alluded to venerable couples when presented in pairs; similarly, small birds with white feathers were often gifted to old spouses for birthdays.
Particularly in the Confucian values presented in depictions of birds on Chinese textiles Qing period, filial piety was seen as a tool of ruling the entire nation by the Kangxi Emperor 康熙 (1654–1722). This trait was an integral part of Chinese culture and thus accepted by the three main religions of China: Confucianism, Buddhism and Taoism, but it was Confucianism with its well-documented social hierarchy that was the most supportive of the ideals of filial piety.
Together with the butterfly a symbol for a young man approaching the woman he loves. Both in China and Korea the word niao (bird) is a term for "penis". Particular symbolic significance are attached to many birds, among these the following: crane, eagle, magpie, mandarin ducks, oriole, owl, pheasant, quail, raven, swallow and the mythical phoenix. A white headed bird symbolizes great age. Two of them on a peony = riches and honor till the close of life.
Here is a select list of various birds, both natural and fictional, their symbolism in Chinese art, their sources, and any groups they belong to:
Phoenix (Fenghuang)
The emperor was considered as the Son of Heaven. Since birds could fly they were literally close to the heavens, and thus to the Emperor – the Son of Heaven himself. During the Qing Dynasty Period, officials of the first degree wore badges with a crane depiction; of the second degree – a golden pheasant, the third – a peacock, the fourth – a wild goose, the fifth – a silver pheasant, the sixth – a white heron, the seventh – a mandarin duck, the eighth – a quail and the ninth – a paradise flycatcher.
Crane (He 鶴)
Because the crane was believed to be the highest ranking bird, it became a symbol of the highest status in the Emperor's court, and its image on rank badges signalled that the wearer was a state official of the first degree. In these cases, the crane was pictured with a round, smooth head, often adorned with red, as well as a short, stubby tail with variegated feathers. Flying cranes symbolize the wish or hope of becoming a higher-ranking official. A depiction of a crane with a phoenix, a mandarin duck, a heron and a wagtail represent the five interpersonal relations – “when an old crane sings, a young one responds”. Five birds: the crane, the phoenix, the mandarin duck, the heron and the wagtail embody the five Confucian relationships, and in this case the crane symbolizes a sons respect towards his father. Two cranes flying towards the Sun signify ambition. A crane among clouds symbolizes nobility, while a pair of cranes indicate a desire for a long life in matrimony. During the Ming Dynasty period, first degree officials were represented by a pair of cranes against a cloudy background. The bird’s longevity symbolism was occasionally highlighted by Chinese rank badge makers by placing the peach of immortality or a "spring mushroom" in its beak.
Golden Pheasant (Jinji 金雞)
A symbol of civil officials of the first and second degree in the beginning of the Ming Dynasty, and of the second degree during the Qing Dynasty period.
Peacock (Kongque 孔雀)
During the rule of the Ming Dynasty, the image of the peacock was used on rank badges of the third and fourth degree, and during the Qing rule – on badges of the third degree rank. In the Ming and Qing periods, the age hierarchy of officials could be determined by the number of included peacock feathers – thus, the use of peacocks in decoration could signify a desire to become an official.
Wild Goose (Dayan 大雁; E 鹅)
The wild goose, similar to the mandarin duck, is a symbol of fidelity and marital happiness. The geese’s custom of flying in a “V” formation was interpreted as an example of order and hierarchy applicable both in familial relations and in the imperial court. An official was compared to a goose taking to the skies, which is why the wild goose also became a symbol of rank, representing a civil official of the fourth degree. On mandarin badges, it was depicted with light-brown or mustard-coloured plumage on the top of its head, wings and back of the neck; the front of the neck and the breast had lighter feathers. Beneath the beak there was usually a black or grey patch. The creators of mandarin squares tried to capture the somewhat square shape of the bird’s head and its webbed feet.
Silver Pheasant (Baixian 白鷴)
The silver pheasant with a silver-grey back and tail was consistently used to represent civil officials of the fifth degree from 1391 until 1911. On rank badges, it was pictured as a bird of vivid colours, with a blue crest and wings, yellow head with a characteristic top and neck, green back and the back of the legs, red shanks and beak. Its most noticeable trait is a tail consisting of two parallel plumes, which are delicately outlined in black. During the Qing period, the bird’s depictions became less realistic, but gained decorative value: it was pictured with white plumage, with five far-apart feathers, which distinguished it from the golden pheasant.
Heron (Lu 鹭)
The heron symbolizes a path or a route. Depicted with a lotus flower, it tells one to "ceaselessly climb one's road". A heron among lotus represents the Confucian ideal of an uncorrupted official. It can also be interpreted as a "recurring success on the path to career", where the bird indicates the path and the official gratification, while the lotus (lian) – the recurring aspect. Because it represents the ruling elite, the heron was selected as one of the birds to be depicted on official rank badges in China, denoting the sixth or seventh degree of civil officialdom in the 1391–1527 period, and later the sixth degree until the fall of the Qing Dynasty in 1911. During that time, the bird was depicted with white plumage, a short, wedge-shaped tail (like the duck's) and a sizeable crest of light green or yellow feathers. The colors of the plumage could vary.
Mandarin Duck (Yuanyang 鴛鴦)
The mandarin duck was valued in China for its significance and extravagant plumage. There were a belief that these birds pair up for life and die if they are separated. Symbol of officials of the seventh degree. In this case, it was depicted in vivid blue, usually with a red beak and legs, yellowish neck.
Quail (Anchun 鵪鶉)
The quail was a symbol of peace in China. In the Ming period it denoted a civil official of the ninth degree until 1652, when the bird was given the eight rank and the flycatcher – the ninth.
Paradise Flycatcher (Shoudai Niao 绶带鸟)
The paradise flycatcher with its long tail resembling ribbons is associated with longevity, as its name contains the word shou 绶, meaning “band” or “ ribbon ”, which is a homophone of shou 壽 that in turn means “ longevity ”, while dai 代 means “ generation ”. This bird became a symbol of the desire to obtain longevity for the family.Kingfisher (Feicui)
Oriole (Ying)
Parrot (Yingwu)
Wagtail
Crow
The bird most often associated with filial piety (xiao) was the crow.
This list covers the symbolic meanings, sources, and categorization of various birds in Chinese art and Confucian philosophy.
In many other cases as well paintings of birds and flowers gain meaning from homophones of the objects depicted.
See also: Chinese painting
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