Silk painting in the context of History of silk

The production of silk originated in Neolithic China within the Yangshao culture (4th millennium BCE). Though it would later reach other places in the world, the art of silk production remained confined to China until the Silk Road opened at 114 BC. Even after trade opened, China maintained a virtual monopoly over silk production for another thousand years. The use of silk within China was not confined to clothing alone, and silk was used for a number of applications, such as writing. Within clothing, the color of silk worn also held social importance, and formed an important guide of social class during the Tang dynasty of China.

Silk cultivation had reached Japan by 300 AD, and by 552 AD the Byzantine Empire managed to obtain silkworm eggs and were able to begin silkworm cultivation while the Arabs also started to manufacture silk at around the same time. As a result of the spread of sericulture, Chinese silk exports became less important, although they still maintained dominance over the luxury silk market. The Crusades brought silk production to Western Europe, in particular to many Italian states, which saw an economic boom exporting silk to the rest of Europe. Developments in the manufacturing technique also started to take place during the Middle Ages (5th to 15th centuries) in Europe, with devices such as the spinning wheel first appearing at this time. During the 16th century, France joined Italy in developing a successful silk trade, although the efforts of most other nations to develop a silk industry of their own were unsuccessful.

Court Ladies Preparing Newly Woven Silk is a silk painting attributed to Emperor Huizong of the Song dynasty. It is the only surviving copy of a lost original Court Ladies Preparing Newly Woven Silk by the Chinese artist Zhang Xuan. The painting depicts an annual imperial ceremony of silk production, held in spring. It shows three groups of Tang dynasty court ladies at work. Viewing from left, one figure sitting on the ground is preparing a thread and the other is sewing while sitting on a stool. The right group of four ladies are pounding the silk with wooden poles. The group stretching and ironing the silk and the right group which is pounding the silk with wooden poles are depicted in a diamond-shaped formation to produce the feeling of a three-dimensional space.

Originally kept in the Palace Museum in Beijing, the painting was acquired by the Boston Museum of Fine Arts in August 1912.