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Future exhibition

Special Exhibition
Patterned: Murmuring among textiles
Between the shuttling threads, patterns become a silent language, unfolding across the fabric in whispers both delicate and profound. Each stitch carries the memory of hands and the trace of hearts, bearing within it the flow of culture and the echoes of emotion. This is a journey of seeing and listening during which we read the stories hidden within textiles—unspoken histories, emotions, and the pulse of life.

Within this stillness, we witness how the worlds woven into textiles unfold. This exhibition features carefully selected textiles from our collection and explores two themes: “Nature and Life” and “Culture and Symbols”. The former focuses on artistic representations of nature and vitality; the latter investigates symbolic language rooted in cultural memory and belief systems, revealing cherished memories, emotional resonance, and cultural transmission embedded within these woven works.

As a symbolic extension, “Wedding Attire” resonates with the Asian Arts Festival's annual theme, presenting ceremonial wedding garments from Malaysia, Nepal, and beyond. These pieces reflect each region's distinctive ritual traditions, mirroring the universal human aspiration for happiness and a beautiful life.

* Special thanks to the National Museum of History and the National Taiwan Museum for their generous loan of precious artifacts, leanding greater diversity and depth to this exhibition.


Nature and Life
Cloud contours, flower veins, and animals are woven into cloth as patterns—still, yet vividly alive. The natural world serves not only as inspiration for these designs but also as a profound link between humans and nature. From blooming flowers to running beasts, from vast landscapes to distant stars, the patterns reflect how people observe, imagine, and celebrate life.


Culture and Symbols
The essence of a culture may reside within simple lines and geometric forms. These symbolic patterns, though abstract, bear deep traces of belief, order, and memory. They serve as protective emblems, cultural markers, and sacred language. Each symbol embodies thought; each pattern carries ideas from one generation to the next.
Exhibition Information
  • Event Date 2026-03-21~2026-06-14
  • Location 3F S304
Wanli reign (1573–1620), Ming dynasty
Carpet with dragon and lotus scrolls
  • 南購織001398
This trapezoidal carpet centers on a five-clawed dragon striding through scrolling lotus, a dynamic style prevalent from the Wanli reign through the early Qing. A continuous key-fret border with delineated guard stripes lends a formality indicative of imperial manufacture. The carpet is believed to have been placed on a palace throne platform and may have formed part of a larger ensemble. This piece remains in pristine condition and is one of the best-preserved examples of its kind.
Qing dynasty, 17th–19th century
Black lacquer box with dragon / Damask sleeve with cloud and dragon pattern
  • 中文000437 N000000001-2
This rectangular lacquer box has plain black outer walls, with a gold-framed cloud-and-dragon design on the lid featuring a forward-facing dragon coiling around a flaming pearl in characteristic court style. Inside is a set of eight ink sticks. A yellow cloud-and-dragon damask sleeve lined in yellow satin wraps and protects the box. The ensemble blends function with decorative refinement, exemplifying the elegant taste of the imperial study.
Ming dynasty, 16th–17th century
Red brocade with dragon roundels and clouds
  • 南購織001414
This brocade features dragon roundels and cloud motifs woven in metal thread on a red damask ground. The dragon symbolizes imperial authority, while the flowing clouds, formed by mushroom-shaped heads interlocking in four directions, are an auspicious motif signifying good fortune. Together, they create a richly layered composition evoking the grandeur of the imperial court.
Late Ming dynasty, 16th century
Satin with longevity inscription, rabbits, and peonies
  • 南購織001407
This Ming-dynasty satin is composed in horizontal registers. The upper section features interlocking peonies, ruyi clouds, and auspicious inscriptions, with rabbits and swastika patterns. The lower section displays jeweled pendants and gems. Peonies and pendants symbolize wealth; rabbits signify fertility and longevity. This design embodies the Ming tradition of weaving into textile art blessings for prosperity and the flourishing of descendants.
Qing dynasty, 17th–19th century
Jeweled fan with flowers and butterflies
  • 故雜005971
The fan face is finely embroidered with chrysanthemums and butterflies in various poses. The frame is inlaid with green jade, tourmaline, and pearls, and the white jade handle hung with jade pendants and beaded tassels. More than a practical accessory, the round fan was an extension of feminine poise and taste. A fan of such quality would have belonged to an empress or consort of the inner court.
Qing dynasty, 17th–19th century
Embroidery of Flowers and Birds : Chrysanthemum and Butterflies
  • 故絲000080N000000006
This album leaf combines painting and embroidery: the butterfly and garden rock are rendered in brush, while the chrysanthemums are embroidered in polychrome thread, creating a layered interplay of painted and textile surfaces. The work bears the seals of the Qianlong and Jiaqing emperors and is recorded in the Shiqu Baoji imperial catalogue, confirming its status as a prized Qing court treasure.
1610, Ming dynasty / Ming dynasty, 17th century
Volume 3 of The Lotus Sūtra (Miaofa Lianhua Jing) / Volume 3 of The Golden Light Sūtra , Ming manuscript
  • Court illuminated manuscript written in gold ink / Ming manuscript
  • 故佛000331 / 故佛000403
These two sutra covers represent the refined, solemn style of imperial textiles for religious use. The Lotus Sūtra is mounted in a red-ground brocade arranged in eight radiating sections, a layout symbolizing universal harmony, with each segment filled with floral motifs. The Golden Light Sūtra is covered in a multicolored swastika-patterned Song-style brocade, its dense rhythm evoking boundless merit. Both exemplify the ordered beauty of geometric all-over patterning and reflect Qing imperial reverence for the presenting of sacred texts.
Ming dynasty, 16th–17th century
Embroidery featuring children holding lotuses
  • 南購織001411
Children holding lotus flowers, symbolizing happiness and fulfillment, are a common textile motif from the Yuan through Qing dynasties. Here, the entire surface of a white gauze is worked in counted stitch with colorful silk threads, producing a tapestry-like red ground filled with children, lotuses, butterflies, and phoenixes. The children's patchwork garments were believed to avert misfortune and ensure healthy growth.
Japan, 20th century
Yūzen-dyed children's garment
  • 南購織001005
This Japanese children's garment, dyed in warm, luminous yellow, is covered with images of playing children to wish for a safe upbringing. The Paulownia roundels and chrysanthemum and pine tortoiseshell patterns among the figures symbolize nobility, longevity, and good fortune. The yūzen dyeing technique has rendered the motifs in fine lines and soft colors, uniting protective blessings with decorative beauty.
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