A stitch in time helps save tradition
By Xiao Tan |
November 16, 2012, Friday
|
Print Edition
Print Edition
GU embroidery, a style created in Songjiang District during the Ming Dynasty (1368-1644), is renowned as "painting by threads and stitches."
Invented by the Gu family, their works mainly featured landscapes, animals and people, all of which required long hours of concentration and many skills.
One silk thread used in Gu embroidery is thinner than a human hair, while stitches are close and meticulously aligned with beautiful colors.
The style itself incorporates a dozen sewing skills.
Han Ximeng, a daughter-in-law of the Gu family, advocated that embroidery shouldn't only be for decorative purposes, but instead treated as a separate art form with a position in the art world.
Han's backing helped the style become more popular.
Most of her works were inspired by famous paintings created from 10th to 14th century. Her silk pieces, captured vivid facial expressions.
Han's realistic style greatly influenced Su embroidery in Jiangsu Province.
During the Qing Dynasty (1644-1911), Gu Yulan, the family's great-granddaughter, set up the first embroidery workshop and recruited young apprentices, making the style even more popular.
In the Jiaqing Reign (1796-1821) during Qing, the Gu style fell from favor.
After the foundation of the New China in 1949, the local government launched projects to rescue the dying tradition.
In 1978, a Gu embroidery team was set up in the Songjiang Handicraft Factory. Old teachers were invited to restore the handcraft.
In 1987, Songjiang Museum displayed contemporary embroidery works.
Today, Gu embroidery is listed as one of the intangible cultural heritages.
Invented by the Gu family, their works mainly featured landscapes, animals and people, all of which required long hours of concentration and many skills.
One silk thread used in Gu embroidery is thinner than a human hair, while stitches are close and meticulously aligned with beautiful colors.
The style itself incorporates a dozen sewing skills.
Han Ximeng, a daughter-in-law of the Gu family, advocated that embroidery shouldn't only be for decorative purposes, but instead treated as a separate art form with a position in the art world.
Han's backing helped the style become more popular.
Most of her works were inspired by famous paintings created from 10th to 14th century. Her silk pieces, captured vivid facial expressions.
Han's realistic style greatly influenced Su embroidery in Jiangsu Province.
During the Qing Dynasty (1644-1911), Gu Yulan, the family's great-granddaughter, set up the first embroidery workshop and recruited young apprentices, making the style even more popular.
In the Jiaqing Reign (1796-1821) during Qing, the Gu style fell from favor.
After the foundation of the New China in 1949, the local government launched projects to rescue the dying tradition.
In 1978, a Gu embroidery team was set up in the Songjiang Handicraft Factory. Old teachers were invited to restore the handcraft.
In 1987, Songjiang Museum displayed contemporary embroidery works.
Today, Gu embroidery is listed as one of the intangible cultural heritages.
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