Arts >Fabric and Ornament
K’o-ssu

K'o-ssu (also known as "ke si") is the essence of Chinese traditional silk artwork. It is a craft with effect similar to interior carving and offers a dual-sided 3D experience. As an imperial fabric since the Song and Yuan Dynasties, it was usually used for weaving the apparel of the emperor and queen, imperial statues, calligraphy imitation, and celebrity paintings. It is the treasure of fabric collection and auction for its complicated, exquisite craftsmanship and rareness.

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‘WHEN SILK WAS GOLD’ IN THE LAND OF SNOWS: A PRELIMINARY TIBETAN-ENGLISH *“PICTORIAL” GLOSSARY OF TEXTILE TERMS RELATED TO SILKEN FABRICS FROM TIBET (13TH TO 20TH CENTURIES)

by Joachim G. KARSTEN (University of Bonn) Now that the treasures of the Chinese royal house have been dispersed, the Potala collection of Chinese art must without doubt be the finest in the world.2 To the memory of Berthold Laufer (1867-1935) FOREWORD During my involvement in cataloguing the monastic archives of the Kun-bde gling bla-brang3 to the west of old Lhasa - nowadays in the western part of Lhasa City -, from 1999 on, one of my tasks was the description an identification of different kinds of fabrics employed for the preservation of some of the documents on which they are either mounted or in which they are bound. As is rather common with many areas in Western Tibetan Studies almost nothing was known about the fabrics to be worked on when I embarged on this “project” of research. I have, therefore, decided to delve into -- if not dabble in -- a number of Tibetan and Chinese texts referring to and a much smaller number of photographs of relevant fabrics from the 13th to 20th centuries found in Tibet. I must, however, admit that this is the first time for me to have got involved in the rather difficult field of textile studies. As indicated in the above paragraph, the study of Tibetan textiles or -- to be more precise -- silk textiles of mainly foreign origin4 -- like many other aspects of Tibetan culture -- used by and found among Tibetans and their literature from the mid-13th to the mid-20th centuries must be considered a hitherto almost neglected aspect of Tibetan Studies.5 This becomes feasible from reading the many lists of presents exchanged between rulers, high-ranking monks (so-called “living Buddhas”) and government officials of both China and Tibet, from the 13th to 20th centuries found in almost any native Tibetan historical sources and historiographical or biographical texts from the 14th to 20th centuries6 where we can find umpteen terms not explained in the extant dictionaries. Tibetan Studies share the fate with Sinology where also a standard terminology is lacking.7 What is much more alarming is the alarming fact that even well-educated older Tibetans are now forgetting -- or have by now already forgotten! -- most of these textiles and the relevant terms8 , as is the tragic case with most of the knowledge concerning things Tibetan. It is, therefore, the humble aim of the present writer to try “conserving” titbits of what little is known about those textiles as of the latest 1990s and very early 2000s. During my work I have had the honour and pleasure of benefitting from the advice of two important Tibetan scholars: 1st the late Pha-lha sku-dngos / rje-drung Thub-bstan ‘od-ldan JOACHIM G. KARSTEN A Preliminary Tibetan-English Glossary of Textile Terms Draft of a draft of another draft... 2 (1909 [sic PL 1981]-1985)9 and 2nd Brags-g.yab che-tshang IX Blo-ldan shes-rab (b. 1939)10 of Bonn. Despite the fact that both have been monks, it happens that both have also been ardent connoisseurs of beautiful textiles, a passion not expressedly forbidden by Buddhism. I should like to express my sincere gratitude for their unfailing help. JOACHIM G. KARSTEN A Preliminary Tibetan-English Glossary of Textile Terms Draft of a draft of another draft... 3 INTRODUCTION Our knowledge in the West of textiles and dress of the Tibetans is nothing compared to what is known about their neighbours in China, India, Uiguristan and in former times Sogdiana, Persia, etc. From what I have learned from Tibetan and Chinese texts and informants, most of the textiles used by the upper classes of traditional Tibet from the 7th to mid-20th centuries were of foreign origin. There are several phases of the use of textiles in the upper classes of traditional Tibet: 1. Imperial era (641-842) 2. “Dark” era (840s-1230s) 3. Sino-Mongol era (1240-1368) 4. Chinese era (1368-1644) 5. Sino-Manchu era (1644-1912) 6. “Independent” era (1912-1950s) 1. Imperial Era (641-842) Two important Tibetologists have done some important work on the costumes of the imperial period of Tibet in the 1970s: Heather Stoddard and Hugh Edward Richardson, while, in the late 1990s, Amy Heller followed. The Tibetan emperor, Srong-btsan sgam-po (569-649), is reported to have “discarded his felt and skins” and adopted “brocade and silk” after his marriage to Wen-ch’eng kung-chu (b. c. 620, d. 680), in 641.11 Seven years later the Chinese emperor sent a present of 2,000 “pieces of silk”.12 In 730, the Chinese emperor presented the Tibetan envoy with “a purple robe and gold girdle with a fish-bag, ...”13 54 years later, the emperor presented two Tibetan officers with 10,000 (sic?) pieces of silk.14 The first known references to silk in Tibetan texts can be found in two documents from Tunhuang (no. 728 of the India Office Library collection15 and no. PT 113416). The references read in the first text “dar-zab kyi peg-tse”, which Amy Heller translates as “le peg-tse de brocart de soie”17 and, in the second text, “dar gyi pag-tse”, i.e. “pag-tse de soie” according to the late R.A. Stein. As to Ms Heller’s translation, I am somewhat not too sure whether it is correct, the stumbling block being the expression dar-zab and her understanding as silk brocade (“brocart de soie”). To the best of my knowledge dar stands for any thin silken fabric while zab or zab-mo originally means [of]‘fine’ [quality]. Thus dar-zab18 would refer to silk of fine quality, and hence satin, but not brocaded silk. Dar appears to be of nonTibetan origin (cf. Uigur torγu, Mongol torγa(n), torγo(n) and Caγatai torka, and Manchu dardan, i.e. silk) while zab is a native Tibetan word.19 An early reference to dar-zab term can be found in a hagiography of the Indian Pundit, Atisha (982- 1054), where it is reported that a certain Candragarbha was seated on a satin robe (dar-zab gos).20 I am unable to explain where Ms Heller’s silk brocade might stem from. Another problem is posed by the term of beg-tse, which may or may not be derived from Chinese po- *tzu (Ancient Chinese: b’*ok-), i.e. silk. Ms Heller has devoted three pages of her doctoral thesis on this problem without being able to finally solve the origin and original meaning of the term. To the best of our knowledge beg-tse generally refers to coat of mail. Thus, a derivation from Chinese po- JOACHIM G. KARSTEN A Preliminary Tibetan-English Glossary of Textile Terms Draft of a draft of another draft... 4 *tzu appears somewhat out of question. Moreover, I am unable to find any reference to Chinese po- *tzu, as only po or ta-po (“large silk”) 21 and other compounds can be found. Thus, the expression in question, dar-zab kyi peg-tse, appears to refer to a “hidden shirt of mail” [made of or covered by?] satin? Or, could beg-tse represent another Chinese or non-Chinese term? 1. P’a-tzu, veil, turban, kerchief (MATHEWS 4855). 2. Apparently, this was the beginning of a rampant “invasion” of precious textiles from China to Tibet that lasted until the 1950s. However, before this first “Chinese invasion”, other countries to the west of the Tibetan empire must have sent their own textiles to the Tibetan court. It is very well known that, in about 640, the great minister to Srong-btsan sgam-po (569-649), mGar sTong-rtsan yul-bzung (fl. 640-667) had a robe made of Sassanian fabric. In Yen Lipen’s beautiful scroll minister mGar is shown wearing a splendid robe showing a pattern of medaillons typical for the western parts of Central Asia, such as Sogdiana. 2. “Dark” Era (840s-1239) dBus-phrug, i.e. woolen goods from dBus (see below under the year of 1247), are mentioned in as early a hagiography as that of Mi-la ras-pa Thos-pa-dga’ (1040-1123).22 3. Mongol Era (1240-1368) To the best of my knowledge, the first recorded reference in Tibetan texts to textiles from abroad with reference to the year of 1244, when the then Mongol ruler, Göden Qân (), sent two garments, boots, and bolts of lampas and satin to Sa-skya pandita Kun-dga’ rgyal-mtshan (1182-1251).23 Only two years later (?), a Mongol (Hor) robe (chas) was presented by the then Mongol ruler, Göden to younger brother of the great ‘phags-pa Blo-gros rgyal-mtshan (1235-1280), Phyagna rdo-rje (1239-1267).24 Under the year of 1247, wool (snam) from Tibet and high quality woolen goods (phrug bzangpo) from dBus are mentioned among several other gifts.25 Note that as late as in the early 15th century, sNel dpon Grags-pa changed “once again to Mongolian [i.e. lay] clothing, …”.26 JOACHIM G. KARSTEN A Preliminary Tibetan-English Glossary of Textile Terms Draft of a draft of another draft... 5 ON THE IDENTIFICATION AND DEFINITION OF TEXTILES Due to the fact that Tibetans -- like the present writer -- did not know how to weave silk or brocade satins the technical terms employed by them were rather based on the following criteria: 1. Origin (ka-shi-ka), 2. Pattern (me-tog yod-pa), 3. Colour (mtshal-kha), 4. Loan of original foreign term (skyin-khebs), and finally 5. Technique (mngags-btags, btags-ma). Several of these criteria were combined to distinguish one textile from another. Therefore, one has to bear in mind that the glossary presented below is not a glossary of textile terms in our Western sense, but merely a glossary of names given to different kinds of fabrics/textiles by the Tibetans, note that many of the names were adopted by the Tibetans as loan words (see below). As many of the textiles of foreign origin found in Tibet can also be found in Japan, Korea, Mongolia and Manchuria, I have tried to find their relevant terms as some kind of tool for identification of the textiles. JOACHIM G. KARSTEN A Preliminary Tibetan-English Glossary of Textile Terms Draft of a draft of another draft... 6 TIBETAN-ENGLISH GLOSSARY OF TEXTILE TERMS KA KA-SHI-KA/KA-SHIS:

Kesi

Kesi, Wade-Giles romanization k’o-ssu, Chinese silk tapestry woven in a pictorial design. The designation kesi, which means “cut silk,” derives from the visual illusion of cut threads that is created by distinct, unblended areas of colour. The earliest surviving examples of kesi date from the Tang dynasty (618–907), but it first became widely used during China’s Southern Song period (1127–1279). The technique became particularly popular during the Ming period (1368–1644) and thrived until the end of the Qing dynasty in 1911/12. The kesi technique was often used to copy famous paintings.

Traditional Chinese Silk Tapestry Appeals to Young Craft Experts in East China

Kesi (K'o-Ssu or Ke-ssu), a traditional Chinese silk tapestry textile woven with gilt-wrap threads, has recently become a favorite of many young craft experts for making fashion outfits. These craft people respect Wang Yuxiang as the top craft professional of the so-called "living fossil" silk art in China. Wang lives in the city of Nantong in east China's Jiangsu Province and has been dedicated to the art for over 30 years. Despite being in his 70s, Wang is still in charge of his workshop – Xuanhe Ke-ssu Crafts Research Institute. Many of his artworks have been collected by museums, including the Capital Museum in Beijing and local Nantong City Museum. "I think I am an artisan instead of being an artist. My goal throughout my lifetime is the pursuit of sophisticated excellence of the Kesi-making skill and the ultimately perfect silk products," said Wang. Wang is particularly delighted to add two young people into his list of apprentices: 18-year-old ethnic Tibetan girl Cai Bacuo from northwest China's Gansu Province and new costume designer Yao Lili, who just finished studying abroad not long ago and is devoted to the founding of his own outfit brand in China. The senior craftsman's latest wish is to build a Kesi museum in order to help people become fully aware of this traditional silk art.

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Examples

1 K’o-ssu – also written kesi – or Chinese silk tapestry, is a complex traditional Chinese weaving technique which had its heyday during the Tang (618-907) and Song (960-1279) dynasties.

2 Unlike other weaving methods in which the vertical (warp) and horizontal (weft) threads extend back and forth completely across the loom, K’o-ssu is done on a simple plain-weave loom using a technique in which the warp threads fully extend but the weft threads do not.

3 K’o-ssu was considered a luxury in ancient China. D