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Search Collectibles / Museums Around the World
Welcome to Museum Tour Ethnic China!
Visual tour some of the finest Oriental ethnic arts collected by museums / galleries worldwide.
Click links to explore further
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Miao (Hmong) Woman's Costume
Guizhou Province, 20th century, British Museum, UK
British Museum
The Miao have striking costumes made from plain indigo-dyed cloth that is decorated with embroidery, batik and appliqué techniques, which is further enhanced with elaborate silver jewellery and headdresses. While some techniques are more difficult to master, embroidery is a skill which young girls learn early on and an activity which they turn to whenever their hands are free from other tasks. Miao costumes are distinguished by regional styles. This example comes from south-central Guizhou province in south-west China.
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Scenes from the Life of the Buddha Shakyamuni
Tibet, 12th century, Zimmerman Family Collection, US
Christie’s
The Buddha seated in bhumisparsa mudra on a lotus throne over a stepped plinth, backed by a green cushion and golden halo, the throne back with a stepped roof through which the bodhi tree is visible, flanked by standing bhodisattvas, surrounded by various scenes from the Buddha's life, with eight golden stupas at top
Opaque pigments and gold on textile |
Ground Opera Mask: Ritual and Legend
Guizhou Province, 20th century, Museum Victoria, Australia
Museum Victoria
The ancient yet still living tradition of mask-making brings together beliefs, myths and symbols from Shamanism and Buddhism, and reflects China's many ethnic minority cultures.
Constructed and painted by hand, some more than 200 years old, these masks symbolise China's rich and diverse cultural landscape. |
Miao (Hmong) Festival Jacket
Guizhou Province, 20th century, Textile Museum, US
Textile Museum
Clothing is a major form of expression for the Miao women. Young women often make their own costumes to wear to festivals using the skills they have learned from their mothers and grandmothers. This jacket was decorated with a number of different techniques such as appliqué and embroidery. The metal decorations consist of small metal cones and round bells which hang off of the animals which have been embossed on metal plates. When the cones strike together they create a soft tinkling sound which is reminiscent of rain. Metal decorations like these are perceived as a sign of wealth, since silver is not naturally found in this region.
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Festival Coat Worn by Miao (Hmong) People
Guizhou Province, 20th century, British Museum, UK
British Museum
Miao textiles in China often display design elements which show the influence of both China’s majority population (the Han) and of other non-Han peoples living in this highly diverse part of South-west China.
This coat is richly decorated and could have been worn at a festival or by someone conducting a ceremony.
It is part of a collection of Miao textiles collected in Guizhou, China and has been embellished with thin sheets of applied green ‘silk-felt’. The birds were sewn using satin-stitch. The 12 free-hanging panels at the bottom have been decorated with chicken feathers and shiny grass seedpods, called ‘Job’s tears’. These free hanging panels are reminiscent of Tibetan textiles. Both the design and decoration of this coat suggest that it is associated with Miao ritual and understanding of the universe. |
Miao Festival Crown
Guizhou Province, 20th century, Minneapolis Institute of Arts, US
Minneapolis Institute of Arts
Headdress topped with flowers on spring-like stems; flowers, dragons and figures on horses around sides; lower edge decorated with hanging cut-out flowers with metal bugle-shaped beads
Credit: Collection Minneapolis Institute of Arts; Gift of Charlotte Karlen
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Sarvabuddha Dakini
Tibet, 17th century, National Museums Liverpool, UK
National Museums Liverpool
The dakini's role is to protect the secret Buddhist teachings and to introduce others to their wisdom. Here Narodakini holds a chopper to cut off harmful attachments and she drinks the life-giving blood of wisdom from a skull cup. She represents selfless wisdom and tramples on the figures that symbolize selfishness.
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Miao Hand Stitched Embroidered Baby Carrier
Guizhou Province, 20th century, Shanghai Museum, China
Shanghai Museum
This baby carrier was embroidered with special thread, hair of horsetail intertwined by white silk thread. The decorative pattern was designed on the babay carrier beforehand then finished by using the special thread. The blank space in the center was entirely embroidered using other colored silk thread. Either butterfly or phoenix is principal design. The colorful and exquisite decoration makes it extremely attractive. |
Miao Cross Stitched Panel
Guizhou Province, 20th century, Minneapolis Institute of Arts, US
Minneapolis Institute of Arts
Off-white fabric with cross-stitch pattern in black overall; central square with star and flower designs; geometric border with figures at edges |
Thangka of Green Tara
Tibet, 13th century, Cleveland Museum of Art, US
Cleveland Museum of Art
Green Tara, a popular Tibetan deity, personifiestranscendent wisdom (prajna) and offers protectionand salvation to her devotees. Here, she appears as the Protectress of the Eight Great Perils, one ofher many forms. She sits within an architecturalshrine, behind which 17 species of the bodhi treeemerge, each characteristic of a different Buddha; their presence emphasizes Green Tara’s role as the mother of all Buddhas. |
Intricately Decorated Festival Jacket by Miao (Hmong)
Guizhou Province, 20th century, British Museum, UK
British Museum
The jacket is decorated with paper-thin rectangles of silk that have been carefully folded and stitched into geometric flower-like patterns. It has an inner hand-woven layer of cotton indigo and an outer layer of satin. It is possible that the inner layer has been reused and once formed part of another jacket. As life in Miao communities is changing rapidly, few women now have the time or skill to produce such intricate and complex work today. However, the Miao continue to be known both in China and in the wider world for their textile production. The Miao have a complex history and a rich material culture of which textile production is only one part. |
Bai Tribe Baby Carrier
Yunnan Province, 20th century, Minneapolis Institute of Arts, US
Minneapolis Institute of Arts
Red, tan, black; top, front: 14-1/4" metal sequins, reverse applique and embroidered stitching in floral designs cover black velvet cloth (including 1-3/4" embroidered edge); lower 10-1/2" portion includes floral embroidered black velvet that surrounds machine-applied petal pattern with metal disc centers; 56" straps half of which are floral embroidered black velvet; heavy and padded |
Miao Festival Skirt
Guizhou Province, 20th century, Minneapolis Institute of Arts, US
Minneapolis Institute of Arts
21 separate three-part velvet panels on black waistband; top part of panels have flowers embroidered on black velvet; center ovals have fauna embroidered on varied colored silk; bottom portion has flora and fauna embroidered in bright colors on red satin; green and yellow tassels alternate on top two panels, which are separated by silver glass beads; all highlighted with gold thread; lined in red plaid; woven ties on waistband |
Miao Festival Pendant
Guizhou Province, 20th century, Minneapolis Institute of Arts, US
Minneapolis Institute of Arts
Openwork 3-D "pendant" with pairs of dragons and lions and a fish; double chain with round and floral links attached to top; two top clips with butterfly motifs; long chains with wheel pendants and three bells alternate short chains with floral pendants and bugle beads below large pendant |
Miao Wax Batik Art
Guizhou Province, 20th century, Minneapolis Institute of Arts, US
Minneapolis Institute of Arts
Grey lined indigo batik on grey background; large center circle with geometric design; four smaller corner circles; running ribbon band conects design throughout; outside geometric border |
Victorious White Parasol, Ushnishasitapatra
Tibet, 18th century, National Museums Liverpool, UK
National Museums Liverpool
This beautiful painting, or Thangka, shows Ushnishasitapatra, a powerful Buddhist deity. She has a thousand heads, arms and legs, with three eyes in each face, one in the palm of each hand and one in the sole of each foot. She watches over living beings and is associated with protection and meditation. Her parasol indicates her ability to defend beings from natural catastrophes, disease etc. Beneath her feet we can see her crushing the enemies of Buddhism.
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