A Passion for Silk: Weaving Cultures from China to Europe
A Passion for Silk, currently on display at the City University of Hong Kong, invites us to traverse the Silk Road and uncover the ancient history of silk — a material once valued as highly as gold.
Sense of Wander: ★★★★☆
Dating back to the Qianlong period (1736-1795) of the Qing dynasty, this kesi tapestry intricately portrays a naturalistic landscape.
HONG KONG — When we think of luxury in the ancient world, silk immediately comes to mind. In China, the art of silk farming, known as sericulture, began as early as 8,500 B.C. and became a financial cornerstone for millennia.
The fine, delicate strands produced by silkworms are remarkably resilient, woven into fabric that’s both soft and comfortable to wear. Silk’s prismatic structure gives it a unique sheen, creating a shimmering effect unmatched by any other material. In ancient times, silk was so prized that its value rivaled that of gold.
A Passion for Silk: The Road from China to Europe (絲織繁華：從中國到歐洲之路), now on view at the Indra and Harry Banga Gallery, City University of Hong Kong, traces the origins and evolution of this luxurious material over 2,000 years of history.
This isn’t the first time the story of silk has been told. In 1997, the Metropolitan Museum of Art presented When Silk Was Gold: Central Asian and Chinese Textiles, the first exhibition dedicated to the silks and embroideries produced in Central Asia and China between the 8th and early 15th centuries. A Passion for Silk, however, offers a rare overview of the various roles Chinese silk has played in art, trade, and fashion, as well as its profound influence on the West.
At the exhibition A Passion for Silk: The Road from China to Europe held at the Indra and Harry Banga Gallery in Hong Kong.
Digital reproduction of a section from a 13th-century handscroll, attributed to Liang Kai, depicting the process of silk making.
The exhibition opens with a simple yet profound question: “What is silk?”
On display is a chart that details the unique qualities of silk — its softness, luster, lightness, and strength — qualities that make silk fabric distinctive from other material. Its remarkable lightweight, resilience to stretch and pull, and ability to retain warmth made it a favoured choice among elites worldwide.
In its early days, sericulture was a household-based endeavour. However, as its economic potential became apparent, silk production evolved from home-based operations to state-run workshops, eventually becoming a full-fledged industry. Before the advent of machinery, silk garments were primarily handcrafted, with some embroidered pieces taking a year or more to complete.
This printed paper, dated 1904, is a paper passport for transporting silk.
Dating back to the Tang dynasty (618-907), this section of a man’s robe depicts confronted mythical beasts in polychrome silk.
Silk from the 14th to 15th century, printed with gold-coloured fish patterns.
On view are digital reproductions of Sericulture, a series of paintings attributed to the Chinese painter Liang Kai (1140-1210), illustrating the tedious process of sericulture, from the domestication of silkworms to the processing and weaving of silk threads. The immense labour and cost required for silk production is why silk became one of the most treasured commodities in history.
Woven from polychrome silk, a Tang dynasty (618-907) man’s robe depicts a pair of mythical beasts, their powerful physique is accentuated by a golden shimmer, a visual reminder of silk’s value once comparable to gold. The design shows a clear Central Asian influence rather than traditional Chinese aesthetics.
Silk garments from earlier periods that have been preserved in such excellent condition are incredibly rare, offering us a glimpse into the elite wardrobes of the time.
During the Tang dynasty, silk became more accessible as the imperial court heavily invested in its production. As with any luxury, the use of silk in clothing became increasingly regulated, with imperial decrees strictly dictating who could wear it, and under what circumstances.
The Tang dynasty was also a period of flourishing cultural and commercial exchange between the Han Chinese and neighbouring kingdoms. The Han Chinese adopted the intricate art of gold weaving from nearby nomadic groups, learning to craft the highly coveted garments that captivated Europeans. Kesi, or slit tapestry, originally developed by the Sogdians or Uyghurs of Central Asia, was also transmitted to Chinese artisans (read about my hands-on experience with kesi weaving in the article Threads of Tradition: Exploring The Disappearing Art of Kesi Weaving).
A selection of embroidered silk robes worn by emperors and empresses during the Qing dynasty (1644-1911).
The Hundred-Families Robe, also known as “baijiayi,” is a garment worn to pray for the longevity of male infants, made from scraps of fabric collected from various households. This example crafted from silk patchwork dates to the 19th century.
These tiny shoes, designed for women with bound feet, showcase intricate embroidery. Even the bottom of the heel features a delicate pierced design.
One of the exhibition’s highlights is a gallery dedicated to Qing dynasty (1644-1911) imperial robes. These garments, adorned with the majestic five-clawed dragon and other auspicious motifs, testify to the exceptional workmanship of the artisans who worked with silk. At times, it’s hard to discern whether the magic lies in the skill of the maker or the intrinsic beauty of silk itself — perhaps it’s a blend of both, as neither would be complete without the other to bring these exquisite robes to life.
It wasn’t until the late 19th century that the term “Silk Road” was introduced by Ferdinand von Richthofen. This term describes a network of trade routes that facilitated the exchange of silk and other goods between China and the West for over a millennium.
Silk was one of the most prestigious items traded along these routes, whether by land or sea, alongside spices, precious metals, art, religion, and technology.
China’s silk made its way westward to ancient Egypt, Persia, and the Greek and Roman empires. While the secrets of silk production were closely guarded, silkworm cultivation began in India after the 4th century. By the 6th century, Persians had mastered silk technology. Sericulture eventually reached Europe by the 10th century, with Italians establishing silk centres in Florence, Lucca, Genoa, and Venice.
In the section “On the Road: From China to Europe,” there’s a stunning array of silk garments and accessories that embody the rich exchange of ideas and artistry between East and West.
These 20th-century French silk dresses embody the elegance and style of the era.
Delicate Indian silk shawl, adorned with embroidered in paisley, contrasts beautifully with Italian-style silk dalmatic (vestment for Catholic priests) crafted in China, highlighting the global exchange of artistry and creativity.
By the 17th century, French silk had begun to rival the renowned Italian textiles. Workshops in Lyon mastered the art of producing silk fabrics, and with the advent of the Jacquard loom, silk manufacturers in Lyon thrived under royal patronage. Their exquisite furnishings, clothing, and accessories set fashion trends across Europe.
Although the silk industry in Lyon suffered greatly during the Second World War, a few resilient firms carried on the tradition, creating luxurious items for high-profile clients. Among these is the extraordinary cape worn by Saint Pope John-Paul II for the Golden Jubilee on December 24, 1999.
In 20th-century China, the silk industry significantly boosted the economy in regions such as Jiangsu, Zhejiang, and Sichuan. Modernisation came with the introduction of machinery, and today, silk from Suzhou and Hangzhou is celebrated as Cultural Heritage, reflecting its historical and artistic significance.
A selection of 20th-century machine-woven silk garments from China reveals a diverse range of styles. In particular, the hand-painted silk qipao featured in the centre stands out.
A palace lady’s fan, dated to around 1875, adorned with Guangzhou-style embroidery in polychrome silk.
With around 150 exhibits, A Passion for Silk offers a sweeping journey through the history of silk, tracing its origins in ancient China to its modern evolution.
However, the exhibition could’ve delved into the true origins or the underlying motivation that led the ancient Chinese to undertake the laborious process of sericulture and, raising the question: Why silk?
In ancient China, silk was no ordinary textile — it served as a bridge between earth and heaven. This belief stemmed from the idea that wearing silk could facilitate the soul’s ascent to heaven, much like how a silk cocoon allows the silkworm to transform into a moth that takes flight. If this aspect had been explored, it would’ve added depth to the silk items on display, highlighting their metaphysical significance beyond their beauty and luxurious craftsmanship.
The exhibition’s impressive collection of Chinese silk items is largely drawn from the Chris Hall Collection, one of the world’s foremost private collections of Asian textiles. Yet, curator Isabelle Frank extends the narrative beyond the Great Wall, exploring silk’s journey as it reached Europe.
In my view, visiting A Passion for Silk is like taking a stroll along the Silk Road, discovering how this precious material has inspired artisans worldwide to create treasured masterpieces. And as we embark on this Silk Road expedition, we are reminded that, even after thousands of years, silk remains a symbol of luxury and refinement in today’s world.
A Passion for Silk: The Road from China to Europe is on view at the Indra and Harry Banga Gallery, City University of Hong Kong, until September 1, 2024.