Chinese folk arts

eChinese Folk Arts

China has civilizations that date back thousands of years ago, and folk art in

the region has a history dating back to ancient times. Because of the great

period of time involved, however, it is not always possible to distinguish true

folk art from the tribal, or primitive, arts that may have persisted for several

centuries.

1. One of China's most popular folk arts is paper cutting. Archaeological finds

trace the tradition back to the 6th century; it is supposed that the

beginnings of paper cutting were even a few centuries earlier. Paper cuttings

are used for religious purposes, for decoration and as patterns.

Paper cuttings are not produced by machine, but by hand. There are two

methods of manufacture: scissor cuttings and knife cuttings. As the name

indicates, scissor cuttings are fashioned with scissors. Several pieces of

paper--up to eight pieces--are fastened together. The motif is then cut with

sharp, pointed scissors.

Knife cuttings are fashioned by putting several layers of paper on a

relatively soft foundation consisting of a mixture of tallow and ashes.

Following a pattern, the artist cuts the motif into the paper with a sharp

knife which he usually holds vertically. The advantage of knife cuttings is

that considerably more paper cuttings can be made in one operation than

with scissor cuttings.

Today, paper cuttings are chiefly used as decoration. The ornament walls,

windows, doors, columns, mirrors, lamps and lanterns in homes and are

also used for decoration on presents or are given as presents themselves.

They have special significance at festivals and on holidays as well. At the

New Year's Festival for example, entrances are decorated with paper

cuttings which are supposed to bring good luck. Paper cuttings used to be

used as patterns, especially for embroidery and lacquer work.

2. Embroidery is the fascinating cloth art that involves the use of needles and

thread. Embroidery was originally done manually, or by hand. It is basically

done for decorative purposes by sewing various types of materials into a

layer of cloth or fabric to create patterns and designs that are usually a

reflection of the beauty of nature. Embroidery, a folk art with a long

tradition, occupies an important position in the history of Chinese arts and

is, in its long development, inseparable from silkworm-raising and

silk-reeling and weaving. Today, silk embroidery is practiced nearly all over

China. The best commercial products, it is generally agreed, come from four

provinces: Jiangsu (notably Suzhou), Hunan, Sichuan and Guangdong, each

with its distinctive features.

Embroidery, a folk art with a long tradition, has an important position in the history of

Chinese arts and crafts. In its long development embroidery has been inseparable

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 rise

to the art of embroidery. In 1958, a piece 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 the earliest piece of Chinese

embroidery ever unearthed. Embroidery became widespread during the Han Dynasty

(206BC-AD220) and many embroidered pieces discovered date back to that period.

Today, silk embroidery is practiced nearly all over China. The Four Famous

Embroideries of China refer to the Xiang embroidery in central China's Hunan

Province, Shu embroidery in western China's Sichuan Province, Yue embroidery in

southern China's Guangdong Province and Su embroidery in eastern China's Jiangsu

Province.

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 (206BC-AD220). 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 (1644-1911) and in the early Republic of

China (early 20th century), 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.

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 (960-1279), 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.

Yue Embroidery

Also called Guang embroidery, Yue embroidery is a general name for embroidery

products of the regions of Guangzhou, Shantou, Zhongshan, Fanyu and Shunde in

Guangdong Province. According to historical records, in the first year of Yongyuan's

reign (805) during the Tang Dynasty (618-907), a girl named Lu Meiniang

embroidered the seventh volume of the Fahua Buddhist Scripture on a piece of thin

silk 30 cm long. And so, Yue embroidery became famous around the country. 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.

Su Embroidery

With a history of more than 3,000 years, Su embroidery is the general name for

embroidery products in areas around Suzhou, Jiangsu Province. The craft, which dates

back to the Three Kingdoms Period (220-280), became a sideline of people in the

Suzhou area during the Ming Dynasty (1368-1644). Well known for its smoothness

and delicateness, Su embroidery won Suzhou the title City of Embroidery in the Qing

Dynasty. In the mid and late Qing, Su embroidery experienced further developments

involving works of double-sided embroidering. There were 65 embroidery stores in

Suzhou City. During the Republic of China period (1912-1949), the Su embroidery

industry was in decline due to frequent wars and it was restored and regenerated after

the founding of new China. In 1950, the central government set up research centers

for Su embroidery and launched training courses for the study of embroidery.

Weaving methods have climbed from 18 to the present 40.

Su embroidery features a strong, folk flavor and its weaving techniques are

characterized by the following: the product surface must be flat, the rim must be neat,

the needle must be thin, the lines must be dense, the color must be harmonious and

bright and the picture must be even. Su embroidery products fall into three major

categories: costumes, decorations for halls and crafts for daily use, which integrate

decorative and practical values. Double-sided embroidery is an excellent

representative of Su embroidery.

In addition to the four major embroidery styles there are Ou embroidery of Wenzhou,

Zhejiang Province; Bian embroidery of Kaifeng, Henan Province and Han embroidery

of Wuhan, Hubei Province.

Introduction to Chinese Embroidery

Embroidery as a Chinese handicraft has long been an important facet of traditional

Chinese arts and crafts. Practiced all over the country, China's most famous works of

embroidery come from Suzhou (abbr. Su), Hunan (abbr. Xiang), Sichuan (abbr. Shu)

and Guangdong (abbr. Yue). Embroidery as a folk art is imbued with the distinct

characteristics of its locality. As an art form it features exquisite craftsmanship,

immaculate execution and strong aesthetic appeal.

Su (Suzhou) Embroidery is crafted in areas centered on Suzhou, Jiangsu Province. It

is noted for its beautiful patterns, elegant colors, variety of stitches, and consummate

craftsmanship. A needle creates Su embroidery on fabric as a brush paints a picture on

canvas. Stitching is meticulously skillful, coloration subtle and refined.

Xiang (Hunan) Embroidery comes from areas centered on Changsha, capital of Hunan

Province. It is distinct for its starkly elegant black, white and gray coloration. Its

emphasis is on contrasts of light and shade that highlight the pattern texture to give a

three-dimensional effect. Xiang Embroidery composition combines void and solid

imagery, utilizing empty space in the same way as Chinese ink-and-wash paintings.

Yue (Guangdong or Guang) Embroidery includes that crafted in Chaozhou. It is

composed of intricate but symmetrical patterns, vibrant colors, varied stitches and a

defined weave. Its use of primary colors, light and shade are reminiscent of Western

paintings.

Shu (Sichuan) Embroidery comes from areas centered on Chengdu, capital of Sichuan

Province. Its raw materials are satin and colored silk, its craftsmanship painstaking

and refined. The emphasis is on even stitching, delicate coloration, and local flavor.

Sichuan embroidery is used to decorate quilt covers, pillowcases, garments, shoes and

painted screens.

Choice of image apart, the successful creation of a work of embroidery pivots on

stitching methods, coloration, and their combination. These factors are decisive when

applying distinct embroidery techniques to the depiction of figures, objects, animals,

backgrounds, landscapes and ornaments.

Organic development and accumulation over centuries has made embroidery a

complete art of rich patterns and malleable forms that evoke intense aesthetic pleasure.

Works fall naturally into different series according to subject matter and technique.

They include oil painting, traditional Chinese painting, water towns, flowers, greeting

cards, pigeons and flower vases. Examples of practical-use embroidered articles are

garments, handkerchiefs, scarves and greeting cards.

On display are scores of embroidered works, including daily-use articles from Suzhou

and Hunan. The techniques and artistic accomplishments these works imbue are a true

reflection of modern Chinese embroidery.