Chasing the Pearl, 135cm silk/wool, Cinnabar Lacquer

Measuring 135cm sq (appr. 53"sq), 70% wool, 30% silk with fringed edges, dry clean only. Chasing the Pearl Coyly coiled within their heavenly sphere, two dragons twist and twine, their lithe and luminous bodies flowing like liquid metal. Their mood is playful and gentle as they cavort in the clouds of a kingdom at peace, their fearsome protections at rest for a time, quelling their ancient power. Clasping their iridescent riches, the dragons softly vie for the final prize. The framing foliage tells of harmony and tranquillity, a pairing for eternity. Chasing The Pearl takes its inspiration from the dragon—one of the oldest and most meaningful creatures in Chinese art. Unlike its fire-breathing Western cousin, the Chinese dragon is an auspicious figure associated with wisdom, protection and great power used benevolently. Here, the dragon is doing exactly what the title promises: chasing a glistening pearl. It’s a centuries-old motif with plenty packed into it—the pearl can represent wisdom, prosperity, spiritual energy, power, immortality, thunder and the moon. In other words, it’s no ordinary pearl. And, as with every Sabina Savage design, the supporting cast matters too. Pine, bamboo and flowering prunus reference a classic Song Dynasty combination; stylized clouds represent a kingdom at peace, while bows suggest the divine. Look to the lower right and you’ll find the scene repeated in miniature as a jade carving—jade being known as the “stone of heaven,” a bridge between spiritual worlds. Red cinnabar seals and Sabina’s name in traditional calligraphy-style brushwork complete the story. Cultural Context for This Collection The Song Dynasty (960–1127) was a remarkable period of cultural and creative transformation in China. Its government placed extraordinary value on the arts, and the painting, poetry and calligraphy that flourished under its patronage would help shape Chinese culture for centuries to come—a compelling reminder of what can happen when creativity is treated as something worth preserving and cultivating. It was during this period that the literati artist emerged: scholars who practiced the “Three Perfections” of painting, calligraphy and poetry, often bringing all three together in a single work. Art became not simply a means of recording the world accurately, but a way to interpret it—more personal, lyrical and philosophical. Animal painting flourished alongside this new way of thinking. The vast imperial art catalogue commissioned by Emperor Huizong divided these works into three categories: wild and domestic animals, flowers and birds, and dragons and fish. The most admired possessed qiyun shengdong—roughly, “spirit resonance” or a sense of life and vitality. The goal was not merely to capture an animal’s appearance, but something of its essential character and its place within the natural world. Animals, then, were never chosen simply because they were beautiful. They carried meaning. And in the hands of Song artists, nature became a language all its own.