Introduction
Chine embroidery refers to embroidery created by any of the cultures located in the area that makes up modern China. It is some of the oldest extant needlework. The four major regional styles of Chine embroidery are Suzhou embroidery (Su Xiu), Hunan embroidery (Xiang Xiu), Guangdong embroidery (Yue Xiu) and Sichuan embroidery (Shu Xiu). All of them are nominated as Chine Intangible Cultural Heritage.
Embroidery, a folk art with a long tradition, has an important position in the history of Chine arts and crafts. In its long development embroidery has been inparable from silkworm raising and silk reeling and weaving. China was the first country in the world to weave silk. Silkworms were domesticated as early as some 5,000 years ago. The production of silk threads and fabrics gave ri to the art of embroidery.
History
It is difficult to be preci as to when embroidery was first practiced in China. In 1958, a p
iece of silk embroidered with a dragon and phoenix was discovered in a state of Chu tomb of the Warring Sates Period (475-221BC). More than 2,000 years old, it is said to be the earliest piece of Chine embroidery ever unearthed. Embroidery became widespread during the Han Dynasty (206BC-AD220) and many embroidered pieces discovered date back to that period.
But there is another opinion that the oldest embroidered product in China on record dates from the Shang Dynasty. Embroidery in this period symbolized social status. It was not until later on, as the national economy developed, that embroidered products entered the lives of the common people.
Through progress over Zhou Dynasty, the Han Dynasty witnesd a leap in embroidery in both technique and art style. Court embroidery was t and specialization came into being. The patterns-covered a larger range, from sun, moon, stars, mountains, dragons, and phoenix to tiger, flower and grass, clouds and geometric patterns. Auspicious words were also fashionable. Both historic records and products of the time proved this. Accordi
ng to the records, all the women in the capital of Qi (today's Linzi, Shandong) were able to embroider, even the stupid were adept at it! They saw and practiced it everyday so naturally they became good at it. The royal family and aristocrats had everything covered with embroidery. Even their rooms were decorated with so many embroidered ornaments that the walls could not be en! Embroidered products flooded their homes, from mattress to beddings, from clothes worn in life time to burial articles.
The authentic embroideries found in Mawangdui Han Tomb are best evidence of this unprecedented proliferation 实习生面试自我介绍
of embroidery. Meanwhile, unearthed embroideries from Mogao Caves in Dunhuang , the Astana-Karakhoja Ancient Tombsin Turpan and northern Inner Mongolia further strengthen this obrvation.
During the following Three Kingdoms Period, one notable figure in the development of embroidery was the wife of Sun Quan, King of Wu. She was also the first female painter recorded in Chine painting history. She was good at calligraphy, painting and embroidery. Sun Quan wanted a map of China and she drew one for him and even pre
nted him embroidered map of China. She was reputed as the Master of Weaving, Needle and Silk. Portraits also appeared on embroidered things during this time.
As Buddhism boomed in China during the Wei, Jin, Sui and Tang Dynasties, embroidery was widely ud to show honor to Buddha statues. Lu Meiniang, a court maiden in the Tang Dynasty, embroidered ven chapters of Buddhist sutra on a tiny piece of silk! New skill in stitching emerged during this period. Besides Buddhist figures, the subjects of Chine painting such as mountains, waters, flowers, birds, pavilions and people all became themes of embroidery, making it into a unique art.
The Song Dynasty saw a peak of development of embroidery in both quantity and quality. It developed into an art by combining calligraphy and painting. New tools and skills were invented. The Wenxiu Department was in charge of embroidery in the Song court. During the reign of Emperor Hui Zong, they divided it into four categories: mountains and waters, pavilions, people, and flower and birds. During this period, the art of embroidery came to its zenith and reputed workers popped up. Even intellects joined this activity, and it was divided into two functions: art for 帅的男明星
daily u and art for art's sake.
The religious touch of embroidery was strengthened by the rulers of Yuan Dynasty who believed in Lamaism. Embroidery was much more applied in Buddha statues, sutras and prayer flags. One product of this time is kept in Potala Palace.
As the sprout of capitalism emerged in Ming Dynasty, Chine society saw a substantial flourish in many industries. Embroidery showed new features, too. Traditional auspicious patterns were widely ud to symbolize popular themes: Mandarin ducks for love; pomegranates for fertility; pines, bamboos and plums for integrity; peonies for riches and honor; and cranes for longevity. The famous Gu Embroidery is typical of this time.
The Qing Dynasty inherited the features of the Ming Dynasty and absorbed new ingredients from Japane embroidery and even Western art. New materials such as gilded cobber and silvery threads emerged. According to The Dream of the Red Chamber, a popular Chine novel t during the Qing Dynasty, peacock feathers were also ud. Notably, the first book on embroidery technique theory was dictated by Shen Shou and recorded by Zhang Jian.
