{"id":6064,"date":"2019-11-15T16:18:32","date_gmt":"2019-11-15T16:18:32","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/suzhou-embroidery-su-xiu\/"},"modified":"2019-11-15T16:18:32","modified_gmt":"2019-11-15T16:18:32","slug":"suzhou-embroidery-su-xiu","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/my\/suzhou-embroidery-su-xiu\/","title":{"rendered":"Suzhou Embroidery \u82cf\u7ee3"},"content":{"rendered":"
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Time: 2006
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Category: Folk Art
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Region: Jiangsu Province
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Ref. No.: VII-18
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Nominating unit[s]: Suzhou city, Jiangsu Province
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Suzhou embroidery, or Su embroidery for short, was named after its’ place of origin, historically very popular in the urban and rural areas of Suzhou. In the past decade, the Suzhou embroidery trade has been on a gradual decline, with the result that its current production areas are mainly co<\/em>ncentrated in the urban areas of Suzhou and around Do<\/em>ngzhu Town and the Zhenhu neighborhood of Suzhou Natio<\/em>nal New & Hi-Tech Industrial Development Zone.
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The origin of Suzhou embroidery techniques is unknown. Some Suzhou embroidery pieces in existence date back until after the Song Dynasty, and reflect the development of this craft and its’ popularity in different historical periods. For example, the relics of a Suzhou embroidery style made in the Yuan Dynasty indicate that 9 embroidering stitches were applied in one piece. Embroideries in the Ming Dynasty mainly are ba<\/em>sed on literati paintings, forming a unique style of fineness, elegance and conciseness. Suzhou embroidery industry took a new shape in the Qing Dynasty, with embroidery business booming. For this reason, Suzhou was known as the "Embroidery City". During the Daoguang reign of the Qing Dynasty, Ding Pei, a female native of Suzhou, composed Embroidery Techniques (or Xiu Pu), the first embroidery-related mo<\/em>nograph in China, describing embroidery techniques. In the late Qing Dynasty and early Republic of China, Shen Shou, a Suzhou embroidery master, developed the "emulatio<\/em>nal embroidery" technique and dictated the Principles and Stitchings of Chinese Embroidery (or Xue Huan Xiu Pu), an account of her experience and expertise in embroidery. In the 1930s, Yang Shouyu, a master artisan in Suzhou embroidery, wrote the text "random stitch embroidery", which enriched and expanded the themes and co<\/em>nnotation of Suzhou embroidery. In the 1950s, the Suzhou Embroidery Institute was established, which gathered and fostered a large number of Suzhou embroidery-related talents, who have studied and created many an embroidering method and needling technique and promoted the co<\/em>ntinuous development and improvement of this craft.
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Since the Ming Dynasty, a large number of Suzhou embroidery masters emerged, giving rise to many branches. Currently, there are three influential types of Suzhou embroidery with certain successor:
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The first is the traditio<\/em>nal embroidery, the second the "emulatio<\/em>nal embroidery" developed by Shen Shou and the third the "random stitch embroidery" by Yang Shouyu. Skills of these three categories are characterized by a rich and varied adaptability, completeness and systematicness, sharing the elements of paintings and calligraphy, and retaining pro<\/em>nounced local features.
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As the most representative folk art in Suzhou, Suzhou embroidery is of great significance in the study of the history of arts and crafts, folklore, women and other subjects. Nevertheless, along with the development of the modern commodity-ba<\/em>sed eco<\/em>nomy and science and technology, computer-aided embroidery technique has become widely popular. As such, Suzhou embroidery has a shrinking market share. Moreover, a dro has been seen in the number of either skilled Suzhou embroidery successors or high-quality Suzhou embroidery articles. In this sense, Suzhou embroidery is now endangered, and protective measures against the extinction of this craft are urgently required.<\/p>\n


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