| P3 has note
| - A flock of flying cranes is embroidered in a raised and couched technique using gold-wrapped thread on an indigo-dyed, dark bleu satin. This <i>fukusa</i>has no lining. The cranes in the lower half are turning right and those on the upper half are turning left. This <i>fukusa</i>was donated by Mrs. Walts, whose brother, William Roger, was presented with it in 1874 at the "Mikado's Palace" in Japan.
In Japan since the early Heian period, 794-1184, cranes have been regarded as birds of longevity. This belief had it origin in China. In the Chinese Taoist book <i>Huainanzi</i> (<i>Enangi</i> in Japanese) written in the 2nd century BC, there is mention of "a thousand year old crane." The Chinese admired the crane for it beauty and regarded it as the companion of a legendary wizard. It later came to imply longevity. In Japan the crane is also loved for its elegant posture and its clear cry. In the <i>Manyoshu</i>, a collection of poems from 7th to 8th century, this cry is expressed as the "one cry of a crane," meaning the final voice of authority. The idea that the crane combines aspects of purity and naivete in its elegant features is derived from Taoist thought. There is a Japanese proverb, "the crane lives thousand years, and the turtle lives ten thousand years." The crane actually lives for about 80 years and therefore was considered to have a long life, especially when people had an average life span of 50 years. Since the crane continues to live in one place from generation to generation, it further promotes the idea of living for a long time. Hence, the crane and the turtle have become a highly revered symbol of longevity along with the <i>sho chiku bai</i>, pine, bamboo and plum. These patterns are commonly found not only on <i>fukusa</i> but also on art work and craft objects. The crane, as well as the turtle, is also associated with the sunrise, Mt. Fuji, <i>sho chiku bai</i>, auspicious clouds, the ocean, waves, the character of <i>kotobuki</i> etc., in order to express a sense of purity and longevity on a happy occasion. The crane is also a symbol of conjugal harmony as implied by its dance at breeding time and two cranes together express conjugal bliss. At this time, according to legend, one has an open beak while the other has a closed beak, as an expression of a'un. (See p. 270)
Often the crane is shown in flight with a strip of paper attached to its leg. This motif is based on the legend of Minamoto Yoshitomo (1123-60?), and his son, Yoritomo who put gold plates on crane's legs when they flew from Yuigahama beach. The cranes flew back to Tazawa in Shizuoka prefecture hundreds of years later. In another story the lord of the Ii family in Hikone captured the cranes. This motif or design symbolises the long life of the crane.
This <i>fukusa</i> with a flock of flying cranes is a good omen, many <i>kotobuki</i>, or a hundred <i>kotobuki</i>, which is appropriate for any celebration.
(Quoted from Takemura, Akihiko. <u>Fukusa : Japanese gift covers</u>, 1991. Mr Takemura had studied the <i>fukusa</i> collection at the Museum in 1990. (en)
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