Embroidery, an ancient form of Chinese folk art, has captivated the world for millennia with its beauty, elegance, and exquisite craftsmanship. Rooted deeply in Chinese history, it has become an integral part of everyday life. This blog delves into the four major regional styles of Chinese embroidery, namely Su embroidery (Su Xiu), Xiang embroidery (Xiang Xiu), Shu embroidery (Shu Xiu), and Yue embroidery (Yue Xiu) of the Han ethnic group, highlighting their unique characteristics and historical significance.
Exploring Regional Styles:
- Originating over 2000 years ago in Suzhou city, Jiangsu province, Su embroidery is renowned for its delicacy and elegance.
- Noteworthy for distinct stitching techniques, emphasis on fine threads, and a wide array of art motifs.
- Su double-sided embroidery, featuring similar art motifs on both sides of the cloth, stands out as a pinnacle of craftsmanship.
- Hailing from Changsha city in Hunan province, Xiang embroidery is distinguished by rich colors and intricate artwork compositions.
- Incorporates various needlework styles and utilizes threads of different colors for expressive designs.
- Draws inspiration from traditional art forms such as Chinese paintings and calligraphy, often featuring flora and fauna motifs.
- Emerging from Chengdu city in Sichuan province, Shu embroidery is considered the most exquisite among the four major styles.
- Boasts over a hundred stitching and weaving techniques, bringing vibrancy to motifs such as flowers, mountains, rivers, animals, and human figures.
- Originating in Guangzhou city, Guangdong province, Yue embroidery is known for its diverse threads, including materials like peacock feathers and horsehair.
- Bright colors and strong contrasts characterize the end products, which are categorized for practical use and appreciation.
- Uniquely, men often perform the needlework in this style.
Embroidery, as a handicraft, involves decorating fabrics by passing a needle through different textiles, creating patterns or words. The term "nü gong" encompasses female handiwork, including sewing, spinning, and embroidery. The craft's growth parallels the textile industry's development, and the Silk Road's influence opened new avenues for its expansion. Initially revered for household items, costumes, and curtains, embroidery also found use in religious contexts.
Embroidery motifs carry diverse meanings, symbolizing aspirations and hopes. Motifs such as scenes with many children represent the desire for more offspring. Homophones play a significant role, with symbols like red dates and longans representing fertility, while bamboo sections signify social status or personal development.
Jeffrey Eng, a third-generation traditional embroidery master, preserves the art of Teochew embroidery at Eng Tiang Huat, a shop over seventy years old. In a market where many shops import products, Mr. Eng maintains the tradition of crafting Teochew embroidery, traditional props, costumes, and instruments.
Traditional crafts face challenges, and the liberalization of China in the 1980s brought about cheaper yet more extensive embroidery products. However, Mr. Jeffrey Eng notes that the original raw materials and motifs are often superior in traditional craftsmanship. He embraces modern elements while retaining the essence of traditional crafts, acknowledging customers' preferences for practicality.
Initially unsure about pursuing embroidery, Mr. Jeffrey Eng was convinced by his grandfather, who believed in passing down the family business. Over thirty years, he has infused special emotions into his work, aware that his efforts contribute to preserving a legacy. With an eye on the future, he hopes to transform his shop into a quasi-museum, allowing the public to appreciate the craftsmanship from earlier generations.
