Gauze tie from a manuscript cover and miscellaneous fragments.

Three fragments; the first is a tie for a manuscript roll cover and consists of two lengths of monochrome gauze weave silk, one in green and one in yellow, showing a repeating lozenge pattern, and sewn together along a fold. At one end there is the remains of a piece of monochrome gauze weave red-brown silk showing lozenge pattern. At the other end, the tie has been knotted and there are the remains of monochrome pink silk thread tassels sewn to the tip. The second piece is a strip of monochrome plain weave blue silk showing cream stitching. The third piece is a square of monochrome plain weave cream cotton.

Weave structures:
1. Sutra wrapper tie
1.1 Gauze with lozenge pattern
Warp: silk, single, green, 72 warps/cm; Weft: silk, single, green, 17 wefts/cm. Weave structure: 2-end complex gauze for pattern on 4-end complex gauze for foundation
1.2 Gauze with lozenge pattern
Warp: silk, single, yellow, 88 warps/cm; Weft: silk, single, yellow, 18 wefts/cm. Weave structure: 2-end complex gauze for pattern on 4-end complex gauze for foundation
1.3 Gauze with lozenge pattern
Warp: silk, single, red, 68 warps/cm; Weft: silk, single, red, 16 wefts/cm. Weave structure: 2-end complex gauze for pattern on 4-end complex gauze for foundation
2. Cotton
Warp: cotton, Z twisted, single, undyed, 14 warps/cm; Weft: cotton, Z twisted, single, undyed, 13 wefts/cm. Weave structure: 1/1 plain weave
3. Silk in plain weave
Warp: silk, single, green, 46 warps/cm; Weft: silk, single, green, 65 wefts/cm. Weaves structure: 1/1 plain weave

Stein Textile Loan Collection. On loan from the Government of India and the Archaeological Survey of India. Copyright: Government of India.

Attached to manuscript tie is a rectangular tag label showing Stein number possibly in Stein's handwriting or that of his assistant, Miss F M G Lorimer. The three fragments have been stored together and. in recent history, put together under one number ( loan:stein.668), reason unclear. However, according to Stein's own notes, the manuscript tie is the only textile that corresponds to the number Ch.00443.b

Dunhuang is at the eastern end of the southern Silk Road, in present-day Gansu Province. It lies between the western reaches of China and the Tarim Basin. When China began to expand into Central Asia during the Han Dynasty (206 BC-220 AD), Dunhuang served as a base for military operations and trade. In the succeeding centuries, Buddhist shrines were established southeast of Dunhuang in a series of man-made caves called Qianfodong, "Caves of the Thousand Buddhas" (today also known as the Mogao Grottoes). Here spectacular cave temples were cut out of the cliffs, beginning in the fourth century AD. Over a period of several centuries, communities of Buddhist monks filled the caves with splendid sculpture and wall paintings. These included colossal Buddha statues, painted clay sculptures of deities, elaborate murals of Buddhist legends, and thousands of tiny painted Buddha images; all of which gave the site its name, Qianfodong. Buddhist cave temples had first been established in at Bamiyan (Afghanistan) and Gandhara (formerly in India, now Pakistan). At Qianfodong, Stein found paintings of graceful figures in the Gandharan style among landscapes and buildings that were distinctly Chinese; a fusion of Indian and Chinese art, which he had noted elsewhere along the Silk Road.

In 1900, a Daoist monk named Wang Yuanlu discovered a secret cave at Qianfodung, which contained thousands of documents and paintings. Stein purchased a significant amount of this material from Wang during his visit to the Dunhuang in 1907. Among the many religious works were Buddhist, Jewish, Nestorian, Daoist and Confucian texts; all of which dated from approximately 400 to 1000 A.D. Numerous languages were represented as well, including Chinese, Sanskrit, Tibetan and Hebrew. Stein also acquired many textile pieces. Most of these were silk, for Dunhuang lay on the main trade route between silk-growing regions of China and Central Asia. Elaborate embroideries depicted Buddhist legends and processions of donors. Patterned silks included Chinese and Sassanian (Persian) designs. From China came floral and geometric patterns, combined with figures of animals and birds. Sassanian motifs included pairs of confronted ducks, lions, and other beasts, combined with medallions and quatrefoils. Stein also found undecorated silks used as processional banners and valances for decorating bases of statues. The cave was sealed soon after 1000 A.D., apparently to protect the contents from invading armies. The V&A holds, on loan, a large number of textiles from Dunhuang, including plain and pattern woven silks in many colours, painted Buddhist banners and canopies, and wrappers for Buddhist texts.

Found in Cave 17 of the Mogao Grottoes (Caves of the Thousand Buddhas).

These textile pieces, including a tie from a Buddhist manuscript cover, were recovered from Cave 17 of the Mogao Grottoes, situated near the oasis town of Dunhuang. This shrine site is one of China’s great Buddhist pilgrimage complexes.

The site is in an area of central Asia now referred to as the Silk Road, a series of overland trade routes that crossed Asia, from China to Europe. The most notable item traded was silk. Camels and horses were used as pack animals and merchants passed their goods from oasis to oasis. The Silk Road was also important for the exchange of ideas – while silk textiles travelled west from China, Buddhism entered China from India in this way.

These fragments were brought back from Central Asia by the explorer and archaeologist Sir Marc Aurel Stein (1862–1943). The Victoria and Albert Museum has around 600 ancient and medieval textiles recovered by Stein at the beginning of the twentieth century. The textiles range in date from the second century BC to the twelfth century AD. Some are silk while others are made from the wool of a variety of different animals.

LOAN:STEIN.668