Textile with Floral Medallion, Tang dynasty (618–907), late 8th–early 9th century. Weft-faced compound twill. Overall: 24 x 28 in. (61 x 71.1 cm) Mount (with plexi cover): 28 3/4 x 32 1/2 in. (73 x 82.6 cm). Purchase, Joseph Pulitzer Bequest, 1996 (1996.103.1) © 2000–2016 The Metropolitan Museum of Art. 

The “treasure floral medallion” on this textile is one of the most popular designs of the Tang dynasty. The design, which consists of a composite blossom at center surrounded by a quatrefoil pattern on the four sides, is used not only in textiles but also in metalwork and ceramics. Its structured rendering reflects West and Central Asian artistic traditions introduced to China via the fabled Silk Road.

宋 緙絲飛鳥走獸紋包首 Scroll Cover with Animals, Birds, and Flowers, Song dynasty (960–1279), 11th–12th century. Silk tapestry (kesi). Overall: 14 1/4 x 12 1/2in. (36.2 x 31.8cm). Gift of John M. Crawford Jr., 1983 (1983.105) © 2000–2016 The Metropolitan Museum of Art. 

A classic example of Song tapestry, this elegant scroll cover resembles a famous uncut piece (now in Liaoning Provincial Museum, China). This tapestry entered the Museum’s collection as the handscroll cover for the masterpiece Old Trees, Level Distance by Guo Xi (ca. 1020–ca. 1090). The placement of the animals in the pattern illustrates a strong connection with tapestries from Central Asia, which may have served as the source for the introduction of the tapestry technique to China. 

金 綠地獵鵝紋織金絹 Textile with Swan Hunt, Jin dynasty (1115–1234), 12th–13th century. Plain-weave silk brocaded with gold-leaf wrapped leather strips, 23 x 24 1/2 in. (58.5 x 62.2 cm). Purchase, Ann Eden Woodward Foundation Gift and Rogers Fund, 1989 (1989.282) © 2000–2016 The Metropolitan Museum of Art. 

Hunting swans with a falcon was an important annual autumnal event for nomadic people such as the Jurchen rulers of the Jin dynasty, one of several rulers who controlled much of northern China from the tenth to the fourteenth century. Illustrations of this important seasonal event are found in textiles, jade, and ceramics. Historical texts record that Jurchen noblemen wore green silk robes with this motif during hunts. This piece is perhaps a fragment from such a robe.

中亞或華北（十三世紀） 蓮池水禽紋緙絲 Textile with Aquatic Birds and Recumbent Animal, 13th century, Eastern Central Asia or North China. Silk tapestry (kesi), 11 1/4 x 24 1/2 in. (28.6 x 62.2 cm) Mount: 15 1/2 × 28 1/2 in. (39.4 × 72.4 cm). Purchase, Gifts in memory of Christopher C.Y. Chen, Gifts from various donors, in honor of Douglas Dillon, Barbara and William Karatz Gift, and Eileen W. Bamberger Bequest, in memory of her husband, Max Bamberger, 1997 (1997.7) © 2000–2016 The Metropolitan Museum of Art. 

The free arrangement of animals on a rhythmic background of geometric leafs is typical of Eastern Central Asian textiles of the eleventh to the thirteenth century. The design is also seen on Chinese tapestries of the period. A similar example was excavated from the burial pagoda of a Buddhist monk, Haiyun (1203–1257), in Beijing, attesting to the strong ties between Chinese and Central Asian textiles at the time.

元 團鳳紋繡片 Panel with Phoenixes and Flowers, Yuan dynasty (1271–1368), 14th century. Silk and metallic thread embroidery on silk gauze. Overall: 56 3/8 x 53 in. (143.2 x 134.6 cm) Mount: 60 5/8 x 57 5/8 x 3 in. (154 x 146.3 x 7.6 cm). Purchase, Amalia Lacroze de Fortabat Gift, Louis V. Bell and Rogers Funds, and Lita Annenberg Hazen Charitable Trust Gift, in honor of Ambassador Walter H. Annenberg (1988 - 1988.82) © 2000–2016 The Metropolitan Museum of Art. 

A marvelous embroidery work, this canopy represents two powerful phoenixes that strongly resemble a fourteenth-century stone relief panel unearthed in Dadu, the capital city of the Yuan dynasty (now Beijing). Although the precise function is unclear, it may have been designed as canopy for use in a tent by a member of the ruling Mongol family.

元 紅地團花“納石失”織金錦 "Cloth of Gold" with Medallions, Yuan dynasty (1271–1368), 14th century. Silk and metallic thread lampas. H. 22 in. (56 cm); W. 31 in. (79 cm). Purchase, Joseph Pulitzer Bequest and Dodge Fund, 2001 (2001.595) © 2000–2016 The Metropolitan Museum of Art. 

This exuberant textile illustrates one of the most luxurious materials used at the Mongol court: nasij, or “cloth of gold.” Except for very fine outlines of patterns in bright red silk, the entire surface of this special textile was woven with gold threads. An innovation from Central Asia, this technique attests to the mass movement of weavers from the eastern Iranian world to China during the Mongol period.

明早期 刺繡開泰圖 Welcoming Spring, Unidentified Artist Chinese, 14th–15th century, Ming dynasty (1368–1644), 15th century. Silk embroidery on silk gauze, 84 x 25 in. (213.4 x 63.5 cm). Purchase, The Dillon Fund Gift, 1981 (1981.410) © 2000–2016 The Metropolitan Museum of Art. 

In Chinese, both goat and sheep are called yang, a word also associated with growth, warmth, and light. Together with two boys, these animals may be read as a visual pun extending warm wishes for a good New Year. Red seals along both sides of the panel state that it was in the collection of the emperor Qinalong (r. 1736–95).

明早期 緙絲獅子補 Rank Badge with Lion, Ming dynasty (1368–1644), 15th century. Silk and metallic-thread tapestry (kesi). Overall: 15 1/2 x 14 1/2 in. (39.4 x 36.8cm). Purchase, Mr. and Mrs. C. Y. Chen and Anonymous Gifts, 1988 (1988.154.2) © 2000–2016 The Metropolitan Museum of Art. 

During the Ming dynasty, the audience robes of government officials bore insignia designating rank. While different birds represented civil ranks, military ranks were represented by a variety of real and mythical quadrupeds. The lion, as seen on this badge, symbolizes the highest military rank.

明早期 纏枝蓮托八寳鳳鳥紋妝花緞 Textile Panel with Phoenixes and Lotuses, Ming dynasty (1368–1644), 15th–16th century. Satin brocaded with silk and metallic thread. Overall (after conservation,): 58 1/4 x 30 7/8 in. (148 x 78.4 cm) Overall (before conservation): 58 1/4 x 30 11/16 in. (148 x 78 cm). Purchase, Friends of Asian Art Gifts, in honor of Douglas Dillon, 2001 (2001.47) © 2000–2016 The Metropolitan Museum of Art. 

Bright yellow was the color reserved for the imperial family. On this panel, brocaded with gold and polychrome threads, four flying phoenixes alternate with lotus flowers, each holding two Buddhist symbols. The patterns are also found in contemporary porcelain, cloisonné, and other art forms.

明晚期 緙絲百鳥朝鳳圖屏 Panel with a Phoenix and Birds in a Rock Garden, Ming dynasty (1368–1644), late 16th–early 17th century. Silk and metallic thread tapestry (kesi), Overall: 88 1/4 x 71 in. (224.2 x 180.3 cm). Seymour Fund, 1960 (60.1) © 2000–2016 The Metropolitan Museum of Art. 

The eight treasures at the top of this panel, which are auspicious motifs derived from Buddhism, reinforce the meaning of the main image—a phoenix surrounded by smaller birds, symbolizing a virtuous monarch or leader welcomed by followers. This massive panel was hung over a wall to demonstrate the owner’s power and luxury, reflected in the rich colors and extraordinary craftsmanship.

明晚期 緙絲花燈紋屏 Panel with Lantern and Streamers, Ming dynasty (1368–1644), ca. 1600. Silk and metallic thread tapestry (kesi). Overall: 36 x 30 in. (91.4 x 76.2 cm). (1988.27) © 2000–2016 The Metropolitan Museum of Art. 

Perhaps used on the occasion of the Lantern Festival—the fifteenth day of the first lunar month—this tapestry illustrates the seasonal interior design of a wealthy family in the seventeenth century. Celebrated with numerous lanterns lighting up the streets and buildings, this traditional festival extends the auspicious wishes of brightness and joy for the first full moon of the lunar New Year.

清早期 彩絨龍袍料 Velvet Textile for a Dragon Robe, Qing dynasty (1644–1911), 17th century. Silk velvet with weft patterning in silk, metallic thread, and feather thread, 55 in. × 8 ft. 6 in. (139.7 × 259.1 cm). Purchase, Friends of Asian Art Gifts, 1987 (1987.147) © 2000–2016 The Metropolitan Museum of Art. 

This rare piece illustrates the early stage of the design of dragon robes during the Qing dynasty. The size of the dragon in comparison to that of the robe, as well as its power and ferociousness, continues the design style of the Ming dynasty (1368–1644).

清早期 刺繡百蝠紋女吉服袍 Woman's Ceremonial Robe (The Bat Medallion Robe), Qing dynasty (1644–1911), first half of the 18th century. Silk and metallic thread embroidery on silk satin, 54 x 75 in. (137.2 x 190.5 cm). Anonymous Gift, 1943 (43.119) © 2000–2016 The Metropolitan Museum of Art. 

Renown as “Bat Medallion Robe,” this garment is a classic example of the elegant and exquisite embroidered court robes from the early eighteenth century. Each medallion consists of five interlaced bats, symbolizing five blessings in Chinese tradition. The pattern and style are comparable to examples excavated from the tomb of Prince Guo (d. 1738) in suburban Beijing in the early twentieth century. This garment is a rare example of an early eighteenth-century court robe in the Museum’s collection.

清中期 納紗繡戯服男帔 Theatrical Robe for a Male Role, Qing dynasty (1644–1911),  second half of the 18th century. Silk florentine stitch embroidery on silk gauze. Overall: 55 3/8 x 89 1/4 in. (140.7 x 226.7 cm). Purchase, Joseph Pulitzer Bequest, 1932 (32.30.10)  © 2000–2016 The Metropolitan Museum of Art. 

This theatrical robe was designed to be worn by an elite male on a casual occasion. Its original form was derived from a long jacket of the Ming dynasty (1368–1644). It is beautifully embroidered using the needlepoint technique and is similar in color and pattern to Qing court theatrical costumes, now at the Palace Museum, Beijing.

清乾隆 刺繡白鷴補 Rank Badge with Silver Pheasant, Qing dynasty (1644–1911), Qianlong period (1736–95) . Silk, pearls, and metallic thread embroidery on silk satin, 10 1/4 x 10 1/2 in. (26 x 26.7 cm). Bequest of William Christian Paul, 1929 (30.75.899) © 2000–2016 The Metropolitan Museum of Art. 

An exquisite example of Qing rank badge, this badge use minuscule pearls to render the white feathers of the bird in addition to extremely refined embroidery. The silver pheasant corresponds to the fifth civil rank.

Panel with the Chinese Character for Longevity (Shou), Qing dynasty (1644–1911), 18th century. Silk and metallic thread tapestry (kesi). Overall: 95 x 57 1/2 in. (241.3 x 146.1 cm). Gift of Barbaralee Diamonstein-Spielvogel, 1984 (1984.353) © 2000–2016 The Metropolitan Museum of Art. 

Perfect for a birthday celebration and probably intended as a gift, this massive panel extends one of the most cherished wishes in Chinese tradition: longevity, in the form of the Chinese character for that blessing, shou. The tapestry is meticulously executed with gold threads that parallel calligraphic effects, including the use of smudged areas at the end of several strokes—a technique known as “flying white” that reveals the mobility and rhythm of brushstrokes found in writing.