While embroidery has a long tradition in China, the origins of Miao embroidery are shrouded by history. The first written record of the ancestors of the Miao is in the Book of Han, which suggests that Miao embroidery was being produced as early as the Warring States Period. The Miao do not have their own written language, and their embroidery itself takes on the role of documenting their history and culture. Miao embroidery motifs handed down from generation to generation not only reflect the world view, values and aesthetics of the Miao, they also illustrate their history and religion and the social changes they have undergone over the centuries. This makes embroidery an extraordinary medium for expressing and preserving Miao culture.
In Miao villages, girls begin learning embroidery from their mothers and aunts at a young age. Starting from the age of fifteen or sixteen, girls begin to hand embroider their own dowry, an ornate embroidered garment that will take several years to complete. While they work they are not only refining their skills as embroiderers, they are also coming to know their own culture. Each pattern illustrates a specific aspect of Miao culture and history, making embroidery an extraordinary heritage that is vital to preserve.
In the early 20th century, Christian missionaries traveled the Qingshui River to distribute Bibles, which Miao women eagerly accepted, much to the missionaries’ joy. Their joy was short lived, though, when they discovered that the women did not read the Bible, but instead used it to sort their threads.
In the traditional songs of the Miao, they sing of their ancestor the butterfly. It was the maple tree, the Mother Tree, that gave birth to the Butterfly Mother, who in turn gave birth to the first two Miao ancestors, Jiang and Yang. For this reason, the butterfly motif can be found embroidered on clothing, drawn in pictures, and even found in ancient sites of worship.
In traditional Chinese culture, the dragon is a protector of the peace, a bringer of rain, and a symbol of the Emperor, a motif that could only be worn by the members of the royal household. The Miao, however, had no such restrictions on the use of dragons, which are a favorite embroidery theme for people from all walks of life.
In Collaboration with Riverbend Academy of Hmongology, Guizhou, China
--- Exhibition Crew ---
Culture Consultants: Yang Peide, An Hong
Project Coordinator: Cecilia Xiong
Exhibition Curator: Lin Wen (email@example.com)
Chief Photographer: Austin Kramer
Other Photographers: Huang Xiaohai, Shi Kaibao, Lin Wen
Content Writer: Lin Wen
Translator: Austin Kramer, Li Yi, Liu Qing, Lin Wen
Proofreader: Austin Kramer
Video Clip Editor: Lin Wen
--- Mini Documentary Film Crew ---
Director: Lu Ying
Assistant Director: Zhang Te
Video Photographer: Zhi Yuehui, Zhang Te, Ji Xiang
Film Editor: Lu Ying, Zhi Yuehui, Suiwu Changjun
Script Writer: Yang Peide
Script Editor: Lin Wen
Color Adjust: Zhong Rujie, Zhi Yuehui
Music: Audio Jungle
Recording: Chenguang Recording Studio