In the midst of the tall modern buildings and busy traffic in Chienkuo North Road in Taipei, stands an old Japanese style bungalow decorated with paintings and a representation of a door-god. Perhaps it is inappropriate to call the residence of folk art collector Chang Mu-yang a home. It is more like a museum preserving the color and grace of the past. Those who visit the place find it hard to forget the old embroideries, clothing and other folk artifacts Chang has collected.

Chang majored in architecture but has since switched his interest to painting, calligraphy and the violin. While working as a hotel designer, it suddenly occurred to him that tourists would appreciate some aborigine patterns incorporated in his designs. He proceeded to visit many aborigine tribal areas searching for works of arts and artifacts.

Starting with sculpture, utensils and woven materials, Chang later extended his interest to brocades, embroidery and clothing decorations. As he proceeded with his work, he became so interested that he decided to become a full-time collector. He even sacrificed his marriage and a chance to make money in order to pursue his career.

When he started large-scale collecting in 1965, he met with suspicion and even hostility among the aborigines, many of whom refused to sell their possessions. But after bringing gifts to them over a long period, including wine and electronics gadgets, such as watches, he gradually won their trust.

Formerly, Taiwan's aborigines wove their cloth by hand. The Taiya tribe used brown and black thread to weave parallel stripes, the Saisiats used red, black, yellow and purple thread to weave stripes around the edges of the cloth, while the Rukai, Bunun and Amei tribes made the most complex and beautiful patterns of all.

Chang explained that members of the Rukai tribe believed their ancestors were descended from snakes, which explains the predominance of snake motifs. They sewed the patterns they made, outlined in silver, around the edges of the cloth.

As well as aborigines items, Chang also collects antiques of the Han Dynasty such as brocade, imperial robes, embroidered scarves, writing brushes, inkstones, ink sticks, and paper. He considers Chinese embroidery to be of outstanding quality. "We do not know exactly how embroidery started, but judging from the bone needles of the Neolithic age and the cocoons preserved from the earliest Hsia Dynasty, we can guess that it originated at the dawn of Chinese history. The embroideries of the Tang Dynasty had a religious aura, since Buddhism was introduced to China at that time. In the Sung Dynasty, embroidery passed from the utility to the artistic field," Chang said.

In the Ming Dynasty, he continued, "Ku" embroidery became famous both within China and abroad, and the "Su" embroidery in the Ching Dynasty kept up the tradition. The so-called Hunan embroidery brought the art to its peak. At this time, all the necessities of life such as door curtains, clothing, comforters and so on were decorated with embroidery. Chang's collection includes beautiful and delicate examples of the period.

Chang said that in the Ching Dynasty, embroidery was practiced in every family, and was considered one of the virtues of women. When-ever he examines his embroidery collection, the image of a dancing girl appears in his mind. Chang believes that embroidery reflects the Chinese way of life, and the wisdom and capability of former times.

Chang has collected more than a thousand items of daily costumes and accessories from the Han Dynasty. He considers it a pity that the old styles have not been adopted to modern use. As a result, he has taken the lead in wearing dresses he has designed based on Tang Dynasty clothing embellished with aborigine style embroidery.

"Every night when I am alone and touch each artistic work I own, I feel I am the richest man in the world," Chang said. He never forgets the admonition he wrote when he departed from his home area. "Life is short, and nothing to be proud of. Only great art lasts forever." Whenever he looks at the inscription hung on the wall of his study, he never regrets the decision he made many years ago.

[Picture Caption]

1. Chang repairing a stone carved bird standing in the courtyard of his house. 2. Courtyard of Chang's workshop. 3. Woodcut and portrait of door gods laid out along the walls and main gate of Chang's "Home for Folklore Handicrafts." 4. Chang instructing students to paint portraits of door gods.

1. "Eye-Bead," an heirloom of the Paiwan aborigine tribe, has a history dating back 2,500 years. 2. Wood rubbings of the chief of Lukai aborigine tribe done by Chang. 3. Chang has a rich collection of aboriginal artifacts. The stone tables and desks, inscribed with patterns of human faces and reptiles, are exquisite. 4. Chang's watercolor painting of aborigines. 5. Embroidered scarf for a bride in ancient times. 6. Embroidered purses. 6. On top row are eyeglass bags. In ancient times, eyeglasses were made of crystal, so the bags had to match them in exquisiteness. On the bottom row are tobacco bags. 8. Small cloth shoes worn by women in former times.

1. Embrodery featuring "carp jumping over the dragon gate" from the Ching dynasty. 2. Tea mat with gilt stitching. 3. "A hundred birds facing the phoenix," a masterpiece of the Ching dynasty. 4. Detail of the nine dragons on blue silk robe. 5. An identification of official rank, called "bliss as deep as the East Sea," sewn on the front and back of official garments. 6. Vest of the Ming dynasty.

1. Chang in the dragon robes worn by emperors of the Ching dynasty. 2. & 5. Clothes worn by women in former times collected by Chang. 3. & 4. Women's underwear of ancient times are part of Chang's collection.

Courtyard of Chang's workshop.

Woodcut and portrait of door gods laid out along the walls and main gate of Chang's "Home for Folklore Handicrafts.

Chang instructing students to paint portraits of door gods.

"Eye-Bead," an heirloom of the Paiwan aborigine tribe, has a history dating back 2,500 years.

Wood rubbings of the chief of Lukai aborigine tribe done by Chang.

Chang has a rich collection of aboriginal artifacts. The stone tables and desks, inscribed with patterns of human faces and reptiles, are exquisite.

Chang's watercolor painting of aborigines.

Embroidered scarf for a bride in ancient times.

Embroidered purses. 6. On top row are eyeglass bags. In ancient times, eyeglasses were made of crystal, so the bags had to match them in exquisiteness.

On the bottom row are tobacco bags.

Small cloth shoes worn by women in former times.

Embrodery featuring "carp jumping over the dragon gate" from the Ching dynasty.

ea mat with gilt stitching.

A hundred birds facing the phoenix," a masterpiece of the Ching dynasty.

Detail of the nine dragons on blue silk robe.

An identification of official rank, called "bliss as deep as the East Sea," sewn on the front and back of official garments.

Vest of the Ming dynasty.

Chang in the dragon robes worn by emperors of the Ching dynasty.

Clothes worn by women in former times collected by Chang.

Women's underwear of ancient times are part of Chang's collection.

Women's underwear of ancient times are part of Chang's collection.

Clothes worn by women in former times collected by Chang.