Item Records

This page shows all the information we have about this item. Both the institution that physically holds this item, and RRN members have contributed the knowledge on this page. You’re looking at the item record provided by the holding institution. If you scroll further down the page, you’ll see the information from RRN members, and can share your own knowledge too.

The RRN processes the information it receives from each institution to make it more readable and easier to search. If you’re doing in-depth research on this item, be sure to take a look at the Data Source tab to see the information exactly as it was provided by the institution.

These records are easy to share because each has a unique web address. You can copy and paste the location from your browser’s address bar into an email, word document, or chat message to share this item with others.

  • Data
  • Data Source

This information was automatically generated from data provided by MOA: University of British Columbia. It has been standardized to aid in finding and grouping information within the RRN. Accuracy and meaning should be verified from the Data Source tab.

Description

Complementary panels, with dragon and flame motifs. Gold, silver, blue, and turquoise on red ground. Blue cotton border (2 3/4"deep) at top of hanging, doubled over bamboo piece for suspension. String loop attached at centre top. Yellow shading to pink fringe at bottom. Cotton calico lining, small white circles on red ground. Hanging panels pair.

History Of Use

These banners would have been held on poles in pairs by standing attendants. They may have indicated the presence of an emperor or empress.
Costumes, stage fittings, and props from the period before World War II can be dated in part by their ornamentation. Those decorated with silver-coated brass disks are likely to be the oldest, followed by those decorated with mirrors. Sequins came into use in the 1930s, although they had been used sparingly before, and heavily-sequined costumes came into use in the late 1930s, continuing into the 1950s.
The conditions of production of costumes pre World War II are not known with certainty. As most costumes have repeated motifs, some method must have been used to replicate them for embroidery and couching. This work was probably done on a putting-out basis under the auspices of the production company, by women. The final finishing may have been done by men in the company headquarters.

Iconographic Meaning

Dragons normally represent the imperial presence.

Specific Techniques

Wear on this and other costume elements shows that the fabric was woven with a silk weft and cotton warp, or vice versa. Seams are enclosed. Visible stitching was done by machine.

Cultural Context

theatre

Narrative

A large group of Cantonese opera costumes, musical instruments, props, trunks, and stage fittings was left with the Jin Wah Sing Musical Association, apparently by some of the many itinerant troupes visiting Vancouver to perform in the Chinatown theatres in the pre World War II period. There is no certain knowledge of why these materials were not taken back to China by them. They were used by the Jin Wah Sing Musical Association in their performances until they became too dated. The association continued to preserve them carefully, storing them in their headquarters and in the basement of the Chinese Freemasons building until several groups of materials were sold and donated to the Museum of Anthropology.

Item History

With an account, you can ask other users a question about this item. Request an Account

With an account, you can submit information about this item and have it visible to all users and institutions on the RRN. Request an Account

Similar Items