In the following three examples, made in China in the 1880s, the upper blue sections are composed of Kingfisher feathers mounted very close to each other. ‘Painting’ with kingfisher feathers, a technique known as tian-tsui has a long history in Chinese decorative art. While similar to cloisonné, it could achieve greater brilliance than enamel, and gave a shimmering effect at the slightest movement. By the twentieth century, the art of tian-tsui was uncommon, and wild kingfishers almost extinct in China.

The lower section of the fan banner is hand-embroidered silk, and features a butterfly at the base, where it joins the handle. The butterfly, hu tieh, represents joy and happiness in marriage.

Inscribed on the back of the fan banner is 'Provincial capital, five blessings'. The five blessings are longevity; wealth and honour; health and tranquillity; good morals and virtue; and to pass away gracefully.

The Golden Dragon Museum is guardian to exquisite examples of historic fan banners and banner tops that survive from Bendigo's early processions. Combining papier-mâché, carved wood, mirrors, gilding, filigree work, faux jewels, woven silk and silk embroidery, gold couching and feathers, their intricate details showcase various traditional skills, some now rare or no longer practised in China today.

(Text taken from The 1880s Processional Regalia of the Bendigo Chinese Association, Golden Dragon Museum, 2010).

The Chinese arrived in Bendigo, Victoria, during the 1850s gold rush. In 1854, it was estimated that over 4,000 Chinese were on the gold fields. In 1871, the Chinese community joined the Bendigo Easter Fair and Procession (which began in 1869) to assist fundraising for charity. Providing music, theatre and acrobatic displays, the Chinese section of the Procession soon became the main attraction. This remarkable collection of 19th Century processional regalia has been preserved by the Chinese community in Bendigo and is held in the Golden Dragon Museum. It is not only a collection of world significance but, importantly, it contextualises and preserves the living heritage of both Victoria and China through the objects and through the ceremonies that continue to be practised today.

Feathers, silk, papier-mâche, wood and hand cut mirrors.

Feathers, silk, papier-mâche, wood and hand cut mirrors.

Feathers, silk, papier-mâche, wood and hand cut mirrors.

This example (along with the following two images) features the Chilin, phoenix and dragon, all embroidered in gold couching. The Chilin is a symbol of a large family of children, and is a mythological creature with the head of a dragon and the body of a horse. The phoenix, feng huang, symbolises the feminine, and when depicted with the dragon, represents the Empress while the dragon represents the Emperor. A papier-mâché dragon head sits at the top of the banner, which has a gold and green painted floral border and a purple silk backing.

(Text taken from The 1880s Processional Regalia of the Bendigo Chinese Association, Golden Dragon Museum, 2010)

Papier-mâche, silk, gold couching, handcut mirrors.

Papier-mâche, silk, gold couching, handcut mirrors.

Papier-mâche, silk, gold couching, handcut mirrors.

Processional banners were supported by poles, upon which this banner top was placed.

This banner top features six ornate entwined dragons, with butterflies and clouds. These are symbols that relate to Chinese mythology: dragons, loong, symbolise male vigour and fertility; butterflies, hu die, are emblems of a lover sipping nectar; and the clouds signify good fortune and happiness.

(Text taken from The 1880s Processional Regalia of the Bendigo Chinese Association, Golden Dragon Museum, 2010)

Silk papier mache, hand cut mirrors.

Restored by Deidre Chisholm, c. 1978.

Silk papier mache, hand cut mirrors.

Restored by Deidre Chisholm, c. 1978

Silk papier mache, hand cut mirrors.

Restored by Deidre Chisholm, c. 1978

This man’s head-dress, part of the General's costume, with mirrors around the front and gold dragons on top, features red and green pom-poms, a silk cloth drop at the back with cotton lining, and mother of pearl decorations. Ear protectors on each side are decorated with a pheasant design. Dragons are used to hold the pheasant feathers decoration. Purple tassels hang at each side. The helmet rises to a dome with elaborate gold decoration and another purple tassel.

All processional characters wore a hat, even those representing lower ranks, as anyone without a head covering exposed him or herself to danger. Hats with embroidered or jewel-like eyes could see danger, and mouths with bared teeth could ward off danger.

The General led the Chinese Easter parade from 1879. This highly regarded position has been equally shared by Chinese and European men. The Chinese in particular, considered it an honour to wear the costumes relating to the role of a high-ranking official.

(Text taken from The 1880s Processional Regalia of the Bendigo Chinese Association, Golden Dragon Museum, 2010)

Silk, cotton, papier mache, handcut mirrors, wire, feathers.

Silk, cotton, papier mache, handcut mirrors, wire, feathers.

Silk, cotton, papier mache, handcut mirrors, wire, feathers.

This is a headdress for one of the princess characters in the procession, most probably one of the young princesses-in-waiting. The headband is decorated with semi-precious stones and mirrors, and supports a number of three-dimensional dragons in blue and gold. It has a halo of red pom-poms on wire supports and tassels at the sides.

(Text taken from The 1880s Processional Regalia of the Bendigo Chinese Association, Golden Dragon Museum, 2010)

Papier mache, silk, handcut mirrors, glass, wire, beads.

Papier mache, silk, handcut mirrors, glass, wire, beads.

The military general led the Chinese Easter parade in 1879. This highly regarded position has been equally shared between by Chinese and European men. The Chinese in particular, considered it an honour to wear the costumes relating to the role of a high-ranking official.

(Text taken from The 1880s Processional Regalia of the Bendigo Chinese Association, Golden Dragon Museum, 2010)

Silk, gold couching, handcut mirrors.

Silk, gold couching, handcut mirrors.

Loong (Dragon) is entirely handmade and is the oldest imperial dragon in the world. He took part in the procession in Melbourne to celebrate Federation in 1901 and retired in 1970.

In 1892 a local newspaper reported the first appearance of a dragon (Loong) in the Bendigo Easter Procession. He was imported from China by the Bendigo Chinese Association, probably in 1892. Loong has five claws, which denotes royalty and gives him the highest status amongst all dragons. In his original state Loong was about 60 metres long and was built from colourful silks, mirrors, bamboo and papier mache. It took 46 men to carry his legs, and another six to carry the head.

Since his retirement Loong has performed on a few rare occasions. In 2001 he travelled to Melbourne and performed in the Centenary of Federation parade at the request of the Federal Government. In 2008, the Golden Dragon Museum had Loong placed on the Victorian Heritage register. This listing formally acknowledges his cultural heritage significance and ensures he receives the State's heritage protection.

(Text courtesy Bendigo Chinese Association Inc, and The 1880s Processional Regalia of the Bendigo Chinese Association, Golden Dragon Museum, 2010)

Papier mache, bamboo, silk, cotton, handcut mirrors, brass, feathers.

This is a teaser and was carried in the procession in front of Loong (Dragon), who sees it as a game and tries to play with it. It is decorated in red and gold, with streamers on the pole and a red wooden handle. Teasers came in many different designs.

(Text courtesy Bendigo Chinese Association Inc, and The 1880s Processional Regalia of the Bendigo Chinese Association, Golden Dragon Museum, 2010)

Wood, silk, cane, wire.

This object is called a flame and is a traditional item carried in front of the imperial dragon, Loong, during a procession.

The flame, huo, consists of green, red and gold stripes on an ovoid shaped frame. It rests on an inverted bell shaped holder, consisting of six panels of red, green and white silk, embroidered with multi-coloured peonies and decorated with small mirrors mounted in brass frames. At the top of the flame is a red tassel, surmounted by a gold knob. The flame is attached to a long bamboo pole painted red. The flame is a yang symbol. The peony, mu tan, is symbolic of spring, riches and honour.

(Text taken from The 1880s Processional Regalia of the Bendigo Chinese Association, Golden Dragon Museum, 2010)

Papier mache, wire, hand cut mirrors wood.