Chinese ancient fine embroidery

The prosperous Guangzhou Port of the Song Dynasty promoted the development of Yue embroidery, which began to be exported at that time. During the Qing Dynasty, people animal hair as the raw material for Yue embroidery, which made the works more vivid. During Qianlong’s reign (1736-1796) of the Qing, an industrial organization was established in Guangzhou. At that time, a large number of craftsmen devoted themselves to the craft, inciting further improvements to the weaving technique. Since 1915, the work of Yue embroidery garnered several awards at the Panama Expo.

Influenced by national folk art, Yue embroidery formed its own unique characteristics. The embroidered pictures are mainly of dragons and phoenixes, and flowers and birds, with neat designs and strong, contrasting colors. Floss, thread and gold-and-silk thread embroidery are used to produce costumes, decorations for halls and crafts for daily use.

Shu Embroidery

Also called Chuan embroidery, Shu embroidery is the general name for embroidery products in areas around Chengdu, Sichuan Province. Shu embroidery enjoys a long history. As early as the Han Dynasty, Shu embroidery was already famous. The central government even designated an office in this area for its administration. During the Five Dynasties and Ten States periods (907-960), a peaceful society and large demand provided advanced conditions for the rapid development of the Shu Embroidery industry.

Shu embroidery experienced its peak development in the Song Dynasty, ranking first in both production and excellence. In the mid-Qing Dynasty, the Shu embroidery industry was formed. After the founding of the People’s Republic of China, Shu embroidery factories were set up and the craft entered a new phase of development, using innovative techniques and a larger variety of forms.

Originating among the folk people in the west of Sichuan Province, Shu embroidery formed its own unique characteristics: smooth, bright, neat and influenced by the geographical environment, customs and cultures. The works incorporated flowers, leaves, animals, mountains, rivers and human figures as their themes. Altogether, there are 122 approaches in 12 categories for weaving. The craftsmanship of Shu embroidery involves a combination of fine arts, aesthetics and practical uses, such as the facings of quits, pillowcases, coats, shoots and screen covers.

Xiang Embroidery

Xiang embroidery is well known for its time-honored history, excellent craftsmanship and unique style. The earliest piece of Xiang embroidery was unearthed at the No 1 Tomb of Mawangdui, Changsha City of the Han Dynasty. The weaving technique was almost the same as the one used in modern times, which demonstrated that embroidery had already existed in the Han Dynasty.

In its later development, Xiang Embroidery absorbed the characteristics of traditional Chinese paintings and formed its own unique characteristics. Xiang embroidery experienced its heyday at the end of the Qing Dynasty and in the early Republic of China, even surpassing Su embroidery. After the founding of the People’s Republic of China, Xiang embroidery was further improved and developed to a new level.

Xiang embroidery uses pure silk, hard satin, soft satin and nylon as its material, which is connected with colorful silk threads. Absorbing the spirit of Chinese paintings, the embroidery reaches a high artistic level. Xiang embroidery crafts include valuable works of art, as well as materials for daily use.

Embroidery by Ethnic Groups

Among ethnic groups, Bai, Bouyei and Miao people are also adept at embroidery. Their embroidery uses sharp contrast of color and primitive design to express a mysterious flavor while embroidered Tangka by Tibetans shows their passion in religion.