"Embroidered robes illuminate the late spring, and gold peacocks and silver unicorns." It is the Tang Dynasty poet Du Fu's poem praising women, and also the image of the beauty of Han embroidery. Han embroidery is based on Chu embroidery, integrating the length of the embroidery methods of the north and south, is popular in the traditional embroidery art of Jingsha, Wuhan and Honghu in Hubei Province, Han embroidery is bold in conception, colorful, full of pictures, strong decoration, and everywhere exudes the charm of Chu style. According to historical records, it began in the Han Dynasty, flourished in the Tang Dynasty and flourished in the Qing Dynasty. With a history of more than 2,300 years, In 2008, Han embroidery was officially selected into the second batch of national intangible cultural heritage list.
Han embroidery emphasizes that "flowers have no positive fruits, liveliness is the first", generally from the periphery of embroidery, layer by layer to the inside of the needle, until the embroidery surface is paved. According to the different textures and patterns of embroidery, embroidery needs to flexibly use a variety of stitches, so that the needle is decisive, pay attention to the neatness of the edge of the pattern, that is, "qi needle", and pay attention to the layered sense of layering and three-dimensional sense of layered color breaking. Most of the Han embroidery patterns are wavy cloud patterns, soaring phoenix birds, galloping god beasts, and common band patterns and geometric patterns in Han mirror ornaments. The divine beast nine-headed bird is a commonly used element in Han embroidery, combined with swimming needles, set needles, carved needles, seed needles, spacer needles and other stitches, the style of the sacred bird is outlined, and the Chu people believe that these patterns all mean auspicious and beautiful. Among them, the Chu people's special worship of "phoenix" also makes this image a representative of Chu culture.
Han embroidery with color hi contrast. Han embroidery will especially emphasize the two colors of red and black, which is related to the Chu culture in which the Chu people advocate red and black, the color is the first to bring people visual impact, the color is bold and intense, mostly biased towards a strong color effect. Due to the influence of the five elements of color, it continues the tradition of the five colors, while adhering to the traditional color concept, it also pays attention to the color of modern visual aesthetics, and the evolution of Han embroidery color collocation reflects the integration of tradition and modernity.
Chinese embroidery dances between needle and thread, intertwines between fingers and cloth, and it is hidden between the craftsmen's processes in past and present lives. This is the era of large machine industry can not replace the cultural inheritance, for thousands of years, Han embroidery craftsmen have been inherited endlessly, has been the Jingchu cultural bloodline into Han embroidery, with the beauty of craftsmanship to show the unique cultural characteristics of Jingchu land.
Special Planner: Huayi Tomorrow Fashion Content Center
Editorial Director : Huang Wei
Image source: Gong Wei Huang Wei's artistic reconstruction
Text Editing: Tao Zi Video Production: Feixun Video
Layout Design: BBird . Poplar wood