Wind Dancer, Heaven Caller, 135cm silk/wool, Ash/Cinder

Measuring 135cm sq (appr. 53"sq), 70% wool, 30% silk with fringed edges, dry clean only.

Wind Dancer, Heaven Caller

The needles of the ancient pine caress ever-darkening skies, until the chrysanthemum moon softly rises. The burnished light gilds the tips of glistening wings, raised to the heavens, poised for performance. Unruly blooms tangle and climb towards divine realms, their florid fingers curling heavenward. Slick, lacquered eyes glint like liquid in the metallic, selenian glow; these are immortal birds dancing to the rhythm of celestial music. 

Wind Dancer, Heaven Caller takes its inspiration from the Chinese crane, believed to be an immortal creature capable of traveling between the earthly and divine worlds. Here, two cranes—symbols of harmony when shown together—appear in the classic Song Dynasty poses known as “wind dancer” and “heaven caller.”

And there’s meaning tucked into every corner. A pine branch symbolizes longevity, while chrysanthemums and a full moon set the scene firmly in autumn. The flowers and birds reference the traditional painting style of the Song era, and the beautifully placed red cinnabar seals do double duty: identifying the artist while becoming part of the composition itself. Look closely and you’ll even find Sabina Savage’s name rendered in traditional calligraphy-style brushwork.

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.