Light yellow satin, fish-scale pleated mamianqun skirt embroidered with colorful patterns of flowers and the instruments of the Eight Immortals (Republic of China)Guangzhou Museum
Flowers and birds have long been cherished subjects of poetic inspiration for literati throughout Chinese history, and their captivating beauty extended beyond the realm of art to adorn the attire of both the elite and common people. The Ming and Qing dynasties saw a peak in the development of Chinese weaving and embroidery craftsmanship. Embroiderers used intricate designs, skilled techniques, and versatile stitching methods to depict birds, insects and flora on garments.
They created exquisite fabrics and embroideries that capture the essence of vitality, imbuing them with artistic creativity and exceptional craftsmanship.This section showcases the museum's collection of flower and bird embroideries, presenting the brilliance of Chinese weaving and embroidery techniques from the Qing Dynasty to the Republic of China. The pieces embody auspicious meanings, and reflect the artisans' spirit of innovation and adaptation to the changing times.
Hanging screen with Guangzhou-style peacock and peony-pattern embroidery on a white satin inset, in a suanzhi frame inlaid with mother-of-pearl motifs (Qing Dynasty)Guangzhou Museum
Hanging screen
Hanging screens are a common type of ornamental piece in Guangzhou-style embroideries, with rich compositions of birds and flowers. This embroidered piece has a strong decorative flair, which differs from the compositional style of literati paintings found in other genres of embroidery. It depicts a peacock, spotted deer, butterflies, magpies, peonies, plum blossoms, and rocky landscapes with exquisite craftsmanship.
The stitches are meticulous, with clear delineation of forms, which is typical of this style. The frame is carved in redwood and embellished with mother-of-pearl inlay. The piece demonstrates the technique and decorative style of Guangzhou-style embroidery. The inscriptions "Guangdong Province," "Made by Shunchanglong," and "Pujiqiao Street" in the lower-left corner indicate that this was sold by a business called "Shunchanglong" in Guangzhou, during the Qing dynasty.
Green Guangzhou satin with flower and butterfly patterns (1900)Guangzhou Museum
Guangzhou satin
During the Qing Dynasty, Guangzhou's silk industry thrived, producing Guangzhou satin, which is renowned for its dense and uniform texture, vibrant colors, soft and smooth luster. This satin is woven with floral and butterfly motifs, with vibrant colors. Despite the small and delicate patterns, the composition is detailed and dense. The design exudes an energetic and cheerful atmosphere, highlighting the rich style of the Lingnan region.
Maroon satin embroidered with a peacock, crane, flower, butterfly, and bamboo-leaf pattern, enclosed in a glass frame (Republic of China)Guangzhou Museum
Silk threads used in weaving and embroidery are sensitive to moisture, which can cause staining. Additionally, prolonged exposure to air can cause color fading. Enclosing embroidered pieces in glass frames keeps the temperature and humidity relatively stable, extending their storage life.
This embroidery features motifs of plum blossoms, bamboo, and camellias, as well as animals such as peacocks, cranes, and butterflies, created using various stitching techniques. It accurately depicts the swaying motion of plants in the wind, as well as the fluttering of animal wings and tails.
Eggplant satin, Chinese-style, women's gown with a Mandarin square embroidered with a xichi-bird motif (Qing Dynasty)Guangzhou Museum
Women's gown
Xichi motifs were traditionally used as insignias for seventh-rank civil officials (in the government's nine-rank system) during the Qing Dynasty. Whether or not a woman's Chinese-style gown would feature a Mandarin square, and what was shown on it, was typically determined by the rank of their husbands or sons. This gown has a Mandarin square with a xichi motif made using the brocade technique.
The square's upper-left corner features an embroidered red sun, with the sea, cliffs and rocks below. In the center, a xichi stands on a rocky reef in the sea. The rest of the square features motifs like Chinese swastikas (a symbol of immortality and infinity), tools used by the Eight Immortals, and ruyi-shaped cloud patterns. Xichi feathers stand tall in the Mandarin square added for officials and their wives, symbolizing unwavering loyalty and dedication.
White-satin women's robe embroidered with patterns of the instruments of the Eight Immortals (Republic of China)Guangzhou Museum
This robe has a small, round standing collar and overlapping front panels. It is made from white satin adorned with a composition of patterns depicting bats, ruyi-shaped clouds, plum blossom, lotus flowers, peach blossom, and the instruments of the Eight Immortals, including Yin and Yang jade plaques, a flute, a gourd, and a fan.
The garment is further embellished with goldfish, aquatic plants, Buddha's hand citrons, pomegranates, and coins. The collar, cuffs, and front edges are adorned with peonies and intertwined lotus vines, which represent prosperity, auspiciousness, and longevity.
Embroidery for an auspicious wish for longevity and blessings (Qing Dynasty)Guangzhou Museum
Embroidery for an auspicious wish for longevity and blessings
The embroidery starts at the top with ruyi-shaped clouds in blue and white silk threads, then moves down to images of narcissus, peaches, Lingzhi mushrooms, and bamboo in orange, white, blue, pink, green, and purple silk threads. The lower portion depicts cliffs and seawater in blue, white, and green silk threads. The piece is bordered with rectangular patterns, and represents an auspicious wish for longevity and blessings.
Yellow satin sash with embroidered peacock, flower, and bird patterns (Qing Dynasty)Guangzhou Museum
Yellow satin sash with embroidered peacock, flower, and bird patterns
This yellow satin sash is embroidered with cranes, pine trees, plum blossoms, and bamboo leaves, representing auspicious longevity. The dominant motif at the bottom is a peacock displaying its feathers, representing the nine virtues associated with peacocks. Peacock feathers are considered auspicious and civilization. A peacock in full display therefore represents civilization throughout the world, encapsulating the ancient desire for peace and prosperity.
Moon-white satin ribbon with ink-colored lotus flowers and butterfly motifs (Qing Dynasty)Guangzhou Museum
This moon-white satin ribbon is adorned with butterflies, lotus flowers, peonies, and chrysanthemums, which represent wealth, honor, fortune, and longevity.
Multi-layer, knot-stitch mitpachoth made of willow leaf-shapes embroidered with auspicious patterns (Republic of China)Guangzhou Museum
柳叶形云肩
These types of mitpachoth mimic the graceful shapes of willow leaves, with one or two layers of embroidered patches that are connected together. The patches are usually arranged in groups of 6, 9, 12, or 20.
In this piece, each of the two layers has 20 embroidered patches in the shape of willow leaves, embroidered with auspicious patterns such as plum blossoms, orchids, chrysanthemums, lotus flowers, peach blossoms, antiques, and pavilions. The changing seasons are depicted with connecting patterns of flowers from different seasons (forming a circle), representing endless seasons, and therefore longevity and eternal prosperity and fortune.
Pink satin, fish-scale pleated skirt embroidered with peacock, bird, and flower motifs, and other more subtle flower patterns (Republic of China)Guangzhou Museum
Pleated skirt
This skirt is made of pink satin, with subtle flower patterns and fine pleats resembling fish scales on both sides. It's embroidered with peacocks, eagles, birds, butterflies, roosters, spotted deer, peach blossoms, and other motifs. There are also ruyi-shaped cloud patterns embellished with black satin. Below the skirt hem there are lotus flowers and orchids, making auspicious references to good fortune and prosperity.
White silk satin shawl embroidered with flower patterns (Qing Dynasty)Guangzhou Museum
Silk satin shawl
Around 1772, Guangzhou-style shawls were a key accessory in European women's fashion, with more than 80,000 sold in Europe each year. It's still a popular fashion accessory in Europe today. As these shawls were transported from Guangzhou to Manila before arriving in Europe, Westerners referred to them as Manila shawls. Guangzhou-style embroidery is distinguished by its full layouts, abundant patterns, lively scenes, vibrant colors, and sharp contrasts.
This shawl has symmetrical patterns on all four corners, with multiple needle techniques depicting full blooms of flowers and graceful curves of branches, giving it a vibrant and flourishing appearance.
