Emily R. Hunt
Visual Arts, Primitive Art, Folk Art and More
Krista QQ(www.123giftfactory.com) said:
Qiang’s ethnic folk art are rooted in China’s ancient history and folk culture, applied with colorful silk threads and cotton color threads, Qiang nation’s peoples created various embroidery patterns and images such as flowers and fruits, fowls and beasts, pines, bamboos, plums, chrysanthemums, a mass of blossom, Harmony in Water and Fish and so on. In those simple artistic forms, rich connotations are contained and displayed out.
Women in Qiang nation are all good at embroidery work, which is one of essential skills that Qiang nation women experienced, and it’s also a main rule to measure whether a Qiang nation girl is intelligent, dexterous and diligent or not. Women in Qiang are often be taught by their elderships to practice embroidery skill hardly when they are still a little girl. When they are in their 6 or 7-year old, the mother will began to teach her daughter to learn the embroidery skill, so when the daughter grew in her marriage age, she usually has become a skilled embroidery master, and when a man in Qiang nation going to pursue for a wife, the basic requirement is the girl should having grasped the embroidery skill well, if the girl are not skilled with embroidery work, the man would not like her. As a result, no woman in Qiang nation could not do embroidery job.
Women in Qiang nation commonly according to the intention person to choose the embroidery image pattern, for example, image patterns of “Fu”, “Lu”, “Shou” and so on are mostly designed for the elderly, and hereby to wish good health and longevity of the elderly; For children, images to against evil spirits would be picked mostly, and thus to bless healthy growth of children, and flower patterns would be choose also to imply children’s good health and favorable growth.
Young girl usually embroidered cigarettes bag for her lover, there are two pattern designs are most familiar, one is “The Mandarin duck plays with Water”, the other is “The Swallows flying wing to wing from winter to spring”. Both the two embroidery patterns are implies to love each other forever and stay together forever, and that is so-called “loves are contained in the sachet”.
Served as a part of Qiang’s ethnic culture, Qiang’s ethnic embroidery bearing Qiang nation’s people’s love to the nature, their yearns for a better life, which are all displayed on their embroidered apparels, to show their rich regional culture and folk customs from one glance side. It can be said that the Qiang’s folk embroidery and paper-cut art are visual carriers of Qiang’s ethnic culture, they are direct and aesthetic symbolic expressions of this age-old ethnic groups’ customs and lifestyles.
Qiang nation’s “Yunyun shoes” is the most characteristic embroidered shoes, which are made with fabric and in a boat shape, with a little raised shoe toes and thicker soles, clouds images embroidered on the shoe uppers, it’s durable and wearable, is a typical lyric-by embroidery.
Not only with spirit appeal, but also actual practicality, this kind of art form congealed Qiang nation people’s simple desires of blessing an auspicious future and a better life, and its culture characters extended whereby. This character is not only belongs to the Qiang nation, but also belongs to all
Qiang’s ethnic folk art are rooted in China’s ancient history and folk culture, applied with colorful silk threads and cotton color threads, Qiang nation’s peoples created various embroidery patterns and images such as flowers and fruits, fowls and beasts, pines, bamboos, plums, chrysanthemums, a mass of blossom, Harmony in Water and Fish and so on. In those simple artistic forms, rich connotations are contained and displayed out.
Women in Qiang nation are all good at embroidery work, which is one of essential skills that Qiang nation women experienced, and it’s also a main rule to measure whether a Qiang nation girl is intelligent, dexterous and diligent or not. Women in Qiang are often be taught by their elderships to practice embroidery skill hardly when they are still a little girl. When they are in their 6 or 7-year old, the mother will began to teach her daughter to learn the embroidery skill, so when the daughter grew in her marriage age, she usually has become a skilled embroidery master, and when a man in Qiang nation going to pursue for a wife, the basic requirement is the girl should having grasped the embroidery skill well, if the girl are not skilled with embroidery work, the man would not like her. As a result, no woman in Qiang nation could not do embroidery job.
Women in Qiang nation commonly according to the intention person to choose the embroidery image pattern, for example, image patterns of “Fu”, “Lu”, “Shou” and so on are mostly designed for the elderly, and hereby to wish good health and longevity of the elderly; For children, images to against evil spirits would be picked mostly, and thus to bless healthy growth of children, and flower patterns would be choose also to imply children’s good health and favorable growth.
Young girl usually embroidered cigarettes bag for her lover, there are two pattern designs are most familiar, one is “The Mandarin duck plays with Water”, the other is “The Swallows flying wing to wing from winter to spring”. Both the two embroidery patterns are implies to love each other forever and stay together forever, and that is so-called “loves are contained in the sachet”.
Served as a part of Qiang’s ethnic culture, Qiang’s ethnic embroidery bearing Qiang nation’s people’s love to the nature, their yearns for a better life, which are all displayed on their embroidered apparels, to show their rich regional culture and folk customs from one glance side. It can be said that the Qiang’s folk embroidery and paper-cut art are visual carriers of Qiang’s ethnic culture, they are direct and aesthetic symbolic expressions of this age-old ethnic groups’ customs and lifestyles.
Qiang nation’s “Yunyun shoes” is the most characteristic embroidered shoes, which are made with fabric and in a boat shape, with a little raised shoe toes and thicker soles, clouds images embroidered on the shoe uppers, it’s durable and wearable, is a typical lyric-by embroidery.
Not only with spirit appeal, but also actual practicality, this kind of art form congealed Qiang nation people’s simple desires of blessing an auspicious future and a better life, and its culture characters extended whereby. This character is not only belongs to the Qiang nation, but also belongs to all
Krista QQ(www.123giftfactory.com) said:
Embroidery is one of traditional Chinese folk industrial arts styles, is an integral part in China’s folk culture. Qiang’s folk embroidery art is the image carrier of Qiang nation’s culture, it is a direct and aesthetic symbolic performance of customs and lifeways of the minority nation with a long history.
Qiang people’s folk embroidery art has passed down from generation to generation for its own traditional folk style, rich exotic moods and sophisticated artistry, which combines the practicality and beauty in one, is one of people’s favorite articles used for decorating and beautifying the life.
When the new China founded, the Qiang people’s folk art developed further, become more attractive and dazzling. In July 1959, embroidered waist belt created by Mrs. Wang Yuhua named “Happiness Ocean” from Wenchuan County in Sichuan province was sent to Chengtu city to attend the State Industrial Art Exhibition and won the first prize.
Containing simple and rich ancient rustic flavors and superb artistry, in 1978 Qiang people’s folk costumes won lot of national academic reputations at home and abroad. At the end of same year, Japan’s National Museum of Ethnology purchased the Qiang nation’s folk apparel for collection.
In 1980, carpets produced by factories in Aba county were exported to the United States, Canada, India, Nepal, the Philippines and other countries, thus Qiang nation people’s folk art won wide reputations and praises.
To the Ming and Qing Dynasties, embroidery has become very popular in the region of Qiang minority. Qiang nation’s embroidery art has 16 kinds of embroidering stitches, there are pick embroidery, ‘Nahua’ embroidery, fine flower embroidery, chain clasp embroidery, emboss finish embroidery, jacquard embroidery, applique embroidery, crocheting embroidery and hand embroidery mainly.
Among them, the pick embroidery is the most favorite technique practices used by Qiang nation’s women. The pick embroidery’s images drawn from the reality life in nature, such as flowers, birds, fishes, animals, and so on, which are familiar in people’s daily life. These natural beings full with rich biological spirits, through skillful pick embroidery processing, have been created into various colorful patterns and images, they mostly symbolizes people’s blessings of auspicious fortunes, fine aspirations for bright future, such as “Bouquets of Flowers and Piles of Brocades “, “Harmony in Water and Fish”, ” Phoenix Flying in Peony.”
Pick embroidery also called “cross embroidery”, is a sort of embroidery technique which strictly in accordance with the fabric’s latitude and longitude lines, through a set of tight embroidery stitches and bring out cross patterns in equidistance and same length, thus embroider out a variety of patterns of visual forms, which have regular, symmetrical, distinctive features. Through this method, images of all natural beings are formed of cross right angles and cross straight lines, and formed unique styles of geometric deformation, it’s fancy and interesting.
Qiang minority nation’s women mostly using cotton threads in their embroidering work, sometimes silk color threads applied too, the colors in which mainly are black and white in vivid contrast. Colors in embroidered image are commonly bright and varied to create clear, simple and generous visual effects.
Qiang nation’s embroidery patterns are clean, exquisite, and contained rich implications. For example, the colors in flower design embroidery and fine flower embroidery are distinctive in great contrast, while flying belts’ patterns have very strong decorative impressions, coupled with the embroidery techniques of chain clasp and so on, the Qiang people’s wild, uninhibited but delicate characters were open out fully with rich connotations.
Embroidery is one of traditional Chinese folk industrial arts styles, is an integral part in China’s folk culture. Qiang’s folk embroidery art is the image carrier of Qiang nation’s culture, it is a direct and aesthetic symbolic performance of customs and lifeways of the minority nation with a long history.
Qiang people’s folk embroidery art has passed down from generation to generation for its own traditional folk style, rich exotic moods and sophisticated artistry, which combines the practicality and beauty in one, is one of people’s favorite articles used for decorating and beautifying the life.
When the new China founded, the Qiang people’s folk art developed further, become more attractive and dazzling. In July 1959, embroidered waist belt created by Mrs. Wang Yuhua named “Happiness Ocean” from Wenchuan County in Sichuan province was sent to Chengtu city to attend the State Industrial Art Exhibition and won the first prize.
Containing simple and rich ancient rustic flavors and superb artistry, in 1978 Qiang people’s folk costumes won lot of national academic reputations at home and abroad. At the end of same year, Japan’s National Museum of Ethnology purchased the Qiang nation’s folk apparel for collection.
In 1980, carpets produced by factories in Aba county were exported to the United States, Canada, India, Nepal, the Philippines and other countries, thus Qiang nation people’s folk art won wide reputations and praises.
To the Ming and Qing Dynasties, embroidery has become very popular in the region of Qiang minority. Qiang nation’s embroidery art has 16 kinds of embroidering stitches, there are pick embroidery, ‘Nahua’ embroidery, fine flower embroidery, chain clasp embroidery, emboss finish embroidery, jacquard embroidery, applique embroidery, crocheting embroidery and hand embroidery mainly.
Among them, the pick embroidery is the most favorite technique practices used by Qiang nation’s women. The pick embroidery’s images drawn from the reality life in nature, such as flowers, birds, fishes, animals, and so on, which are familiar in people’s daily life. These natural beings full with rich biological spirits, through skillful pick embroidery processing, have been created into various colorful patterns and images, they mostly symbolizes people’s blessings of auspicious fortunes, fine aspirations for bright future, such as “Bouquets of Flowers and Piles of Brocades “, “Harmony in Water and Fish”, ” Phoenix Flying in Peony.”
Pick embroidery also called “cross embroidery”, is a sort of embroidery technique which strictly in accordance with the fabric’s latitude and longitude lines, through a set of tight embroidery stitches and bring out cross patterns in equidistance and same length, thus embroider out a variety of patterns of visual forms, which have regular, symmetrical, distinctive features. Through this method, images of all natural beings are formed of cross right angles and cross straight lines, and formed unique styles of geometric deformation, it’s fancy and interesting.
Qiang minority nation’s women mostly using cotton threads in their embroidering work, sometimes silk color threads applied too, the colors in which mainly are black and white in vivid contrast. Colors in embroidered image are commonly bright and varied to create clear, simple and generous visual effects.
Qiang nation’s embroidery patterns are clean, exquisite, and contained rich implications. For example, the colors in flower design embroidery and fine flower embroidery are distinctive in great contrast, while flying belts’ patterns have very strong decorative impressions, coupled with the embroidery techniques of chain clasp and so on, the Qiang people’s wild, uninhibited but delicate characters were open out fully with rich connotations.
Emantras said:
Indian tribal art is a part and parcel of this multivariate heritage and throws up beautiful insights into human nature and lifestyle amongst Indian tribes of those ages.
The art forms included paintings which are an integral part of the tribal tradition and often mirrored the lifestyle and traditions of the era. They were replete with the fairs, festivals, gods& goddesses, the bonding and social dynamics that was prevalent in those times.
They often carried a streak of simplicity and ingenuity and animated the immortal charm of life. The tribal art forms itself had different genres and divisions originating from different parts of India, mostly from the states of Orissa, Bengal, Tamil Nadu, Rajasthan, Bihar/Jharkand etc. The notable art forms being Tanjore, Madhubani, Patachitra and Rajasthan Miniature ones.
Moreover, the regional dances of India, such as the Bhangra dance of Punjab, the Dandiya of Gujarat, the Bihu dance of Assam, etc, which project the cultural heritage of those regions, are prominent contenders in the field of Indian folk art. These folk dances are performed by people to express their celebration at every possible event or occasion, such as the arrival of seasons, the birth of a child, weddings, festivals, etc.
Centuries have passed and the Indian folk & tribal art form has retained its ‘romance and enigmatic charm’ but has become a tiny niche and appeals to a very narrow segment of audience. The abundance of riches in folk and tribal art has received universal appreciation, following and is a fact well known. It will also not be far from the truth that it has so much variety that it can appeal to a wider platform of individuals and people across ethnicities. The Indian government has also been taking steps to conserve and promote it.
They key here is of course to get a wider Diaspora interested in it directly or indirectly. Indian art as mentioned before is a razzmatazz of various different elements -art music dance forms. Each of these has a story, an insight behind that can be used to create engaging entertaining forms.
Children and teens also form a segment that has never been exposed to much of ancient art forms these days. The Gen Y has been hooked to the world of gaming, animation and movies with pyrotechnics and the Indian folk art has enough pizazz if delivered in more interesting and fascinating mediums
One such example would be ‘Music Binds All‘- a 45 second animated short movie made by an innovative ‘out of the box’ digital media company called Mlab ,which is building a community (vibrantribes.com) to promote folk & tribal art in contemporary formats.
This endeavor is to ‘resurrect’ folk art and take it to another level where it is more interactive, and where it can appeal to more people.
Indian tribal art is a part and parcel of this multivariate heritage and throws up beautiful insights into human nature and lifestyle amongst Indian tribes of those ages.
The art forms included paintings which are an integral part of the tribal tradition and often mirrored the lifestyle and traditions of the era. They were replete with the fairs, festivals, gods& goddesses, the bonding and social dynamics that was prevalent in those times.
They often carried a streak of simplicity and ingenuity and animated the immortal charm of life. The tribal art forms itself had different genres and divisions originating from different parts of India, mostly from the states of Orissa, Bengal, Tamil Nadu, Rajasthan, Bihar/Jharkand etc. The notable art forms being Tanjore, Madhubani, Patachitra and Rajasthan Miniature ones.
Moreover, the regional dances of India, such as the Bhangra dance of Punjab, the Dandiya of Gujarat, the Bihu dance of Assam, etc, which project the cultural heritage of those regions, are prominent contenders in the field of Indian folk art. These folk dances are performed by people to express their celebration at every possible event or occasion, such as the arrival of seasons, the birth of a child, weddings, festivals, etc.
Centuries have passed and the Indian folk & tribal art form has retained its ‘romance and enigmatic charm’ but has become a tiny niche and appeals to a very narrow segment of audience. The abundance of riches in folk and tribal art has received universal appreciation, following and is a fact well known. It will also not be far from the truth that it has so much variety that it can appeal to a wider platform of individuals and people across ethnicities. The Indian government has also been taking steps to conserve and promote it.
They key here is of course to get a wider Diaspora interested in it directly or indirectly. Indian art as mentioned before is a razzmatazz of various different elements -art music dance forms. Each of these has a story, an insight behind that can be used to create engaging entertaining forms.
Children and teens also form a segment that has never been exposed to much of ancient art forms these days. The Gen Y has been hooked to the world of gaming, animation and movies with pyrotechnics and the Indian folk art has enough pizazz if delivered in more interesting and fascinating mediums
One such example would be ‘Music Binds All‘- a 45 second animated short movie made by an innovative ‘out of the box’ digital media company called Mlab ,which is building a community (vibrantribes.com) to promote folk & tribal art in contemporary formats.
This endeavor is to ‘resurrect’ folk art and take it to another level where it is more interactive, and where it can appeal to more people.
Will said:
Originally Khokhloma wood tableware were produced in monasteries and for the czar court only. At that time Khokhloma tableware production was not large scale. It was because of expensive imported tin. In 1720s after the end of the North War tin flow to Russian increased. The price went down and the material came within reach of many masters. The production and the sales of brightly painted hand made art works expanded.
Thus in the XIX century items with khokhloma painting were famous not only in Russia but in Persia, India, Middle East, the USA and Australia as well. The export of khokhloma items grew after the worldwide exhibition in 1889 in Paris.
In 1916 Nizhegorodskoye Zemstvo established the first School for Wood-Working Arts and Crafts in Semyonov. The folk arts and folklore flourished in Volga region near Nizhny Novgorod province. No other territory in Russia could equal it in the number and originality of the folk arts and crafts that had sprang to life and were developed in the local communities. The Khokhloma art painting on wooden tableware is the type of Nizhny Novgorod folk art craft that became most popular in Russia and foreign countries.
The “grass-leaves” decorative ornaments and their peculiar color scheme suggest that the Khokhloma art is rooted in the ancient Russian decorative culture while the imitation of gilt ornaments on wood dates back to the medieval Russian handicraft skills. The painting technique has been somewhat upgraded but remains essentially the same as in the ancient time.
Khokhloma russian painting amazes you with its delicate grass pattern and festive coloring, which is based on combination of scarlet cinnabar and flittering gold against the black lacquer background. This is Khokhloma specific feature. Masters used tin powder and lacquer to obtain such gold color. Now they use aluminum powder.
First, the art tableware are shaped on a lathe from the dried lime wood, which are turned into bowls, vases, mugs, dishes and spoons.
They are dried and covered with red and brown primer, so that they start looking like earthen. The unpainted articles are now coated with drying oil. Next they are polished with powdered aluminium. They become dull shining, like silver, and go to the painting division. Painted articles are then varnished and hardened in ovens at the temperature of 120-130 degrees. The heat turns the varnish yellow, the “silver” into “gold” and mellows the vivid design with an even, golden tone.
The Khokhloma dishes, cups and wooden drink pots were used for serving food at holiday feasts. The wooden tableware using at the Moscow house of an important statesman had to look valuable; accordingly, they were modeled on the rich painted plates decorated with real golden fabricated by the jewelers for the luxurious homes of the Russian nobility. Thanks to the special varnish and high-temperature processing they are quite practical and safe in use. You can drink and eat using these Khokhloma tableware, because such wares not sensitive to cold and hot, salty and sour food.
Apart from Khokhloma wood presents of tableware most visitors to Russia will have at least one set of Matrioshka dolls in their luggage. These dolls within dolls have long been a source of fascination. The undoing of the main doll to reveal others almost ad-in-finitem has always produced wonderment and appreciation for the woodcrafts art.
Examples of beautiful Khokhloma wood art presents, Paleh and Mstera lacquered miniatures you can look at art store online site. It is amazing that what started out as a true folk tradition over 300 years ago is still thriving and remains basically true to it’s roots, albeit on a more organized scale.
Originally Khokhloma wood tableware were produced in monasteries and for the czar court only. At that time Khokhloma tableware production was not large scale. It was because of expensive imported tin. In 1720s after the end of the North War tin flow to Russian increased. The price went down and the material came within reach of many masters. The production and the sales of brightly painted hand made art works expanded.
Thus in the XIX century items with khokhloma painting were famous not only in Russia but in Persia, India, Middle East, the USA and Australia as well. The export of khokhloma items grew after the worldwide exhibition in 1889 in Paris.
In 1916 Nizhegorodskoye Zemstvo established the first School for Wood-Working Arts and Crafts in Semyonov. The folk arts and folklore flourished in Volga region near Nizhny Novgorod province. No other territory in Russia could equal it in the number and originality of the folk arts and crafts that had sprang to life and were developed in the local communities. The Khokhloma art painting on wooden tableware is the type of Nizhny Novgorod folk art craft that became most popular in Russia and foreign countries.
The “grass-leaves” decorative ornaments and their peculiar color scheme suggest that the Khokhloma art is rooted in the ancient Russian decorative culture while the imitation of gilt ornaments on wood dates back to the medieval Russian handicraft skills. The painting technique has been somewhat upgraded but remains essentially the same as in the ancient time.
Khokhloma russian painting amazes you with its delicate grass pattern and festive coloring, which is based on combination of scarlet cinnabar and flittering gold against the black lacquer background. This is Khokhloma specific feature. Masters used tin powder and lacquer to obtain such gold color. Now they use aluminum powder.
First, the art tableware are shaped on a lathe from the dried lime wood, which are turned into bowls, vases, mugs, dishes and spoons.
They are dried and covered with red and brown primer, so that they start looking like earthen. The unpainted articles are now coated with drying oil. Next they are polished with powdered aluminium. They become dull shining, like silver, and go to the painting division. Painted articles are then varnished and hardened in ovens at the temperature of 120-130 degrees. The heat turns the varnish yellow, the “silver” into “gold” and mellows the vivid design with an even, golden tone.
The Khokhloma dishes, cups and wooden drink pots were used for serving food at holiday feasts. The wooden tableware using at the Moscow house of an important statesman had to look valuable; accordingly, they were modeled on the rich painted plates decorated with real golden fabricated by the jewelers for the luxurious homes of the Russian nobility. Thanks to the special varnish and high-temperature processing they are quite practical and safe in use. You can drink and eat using these Khokhloma tableware, because such wares not sensitive to cold and hot, salty and sour food.
Apart from Khokhloma wood presents of tableware most visitors to Russia will have at least one set of Matrioshka dolls in their luggage. These dolls within dolls have long been a source of fascination. The undoing of the main doll to reveal others almost ad-in-finitem has always produced wonderment and appreciation for the woodcrafts art.
Examples of beautiful Khokhloma wood art presents, Paleh and Mstera lacquered miniatures you can look at art store online site. It is amazing that what started out as a true folk tradition over 300 years ago is still thriving and remains basically true to it’s roots, albeit on a more organized scale.
Krista QQ(www.123giftfactory.com) said:
Paper-cutting and embroidery are both folk industrial art forms of China, they both are indivisible parts of Chinese folk culture. As a wonderful art miracle of Qiang nation culture, Qiang embroidery, in terms of design, color, form or stitch styles, are all imbued with rich deposits of the ancient Qiang nation’s millennium culture and Qiang people’s ideas for life.
The author believes that the merits and meanings to dig out the Qiang nation’s folk embroidery and paper cutting art are not only exists in art scope, for us it’s undoubtedly valuable and significant to learn more about the history of this nation and be aware of the relationships between the Qiang folk art and that of other nations.
Qiang nation, also be called “the nation stay in clouds “, mainly live together in the Mao county of Aba prefecture, Wenchuan county and Li county, as well as the Beichuan autonomous county of Qiang nation in Mianyang city in Sichuan province China. “Qiang Embroidery” is a subsistent heritage of Qiang nation culture that most lively so far and closest to Qiang nation people’s life, it also is the best art communication bridge to the real-world, its forms, color matching and stitching styles are featured with significant ethnic characteristics.
Qiang nation people’s costume are gorgeous as well as simple, and whether men or women in Qiang nation are all prefer to wearing headscarves, they are accustomed to wear long linen gowns that woven by themselves, wear long cloth gowns, coats, sheepskin vests too, and “Yunyun shoes” (a sort of Qiang nation’s embroidered cloth shoes) on feet. A variety of geometric patterns of embroidery are familiar on Qiang women’s clothes and they usually wearing silver jewelry such as earrings, silver plates and so on, and wearing embroidered shoes with sharp hook toes. Men in Qiang nation generally tie hanging knives and leather wallets on the waist, they wearing fabric shoes or straw sandals, and wrapping wool puttees, also with waist belts tied on. Today, in areas close to the cities and towns of Han people, affected by the Han people’s clothing, Qiang people mostly wearing Han apparels and only wearing Qiang costumes in holidays.
Through the changes of history and turns of times, with the developing of Chinese cities, modern people favorite for going after changes and curious about adventures, as life styles and aesthetic concepts transformed, traditional folk embroidery appeared in cities from the countryside gradually, not only the sentiments and aspirations of citizen members have been infiltrated with embroidery art, but also thousands of families effected by and began to practice the skill of embroidery together.
Qiang folk art could switched to response the times, thus naturally to regain a new life. In particular, as in this prosperous millennium, people greet the occasion and are all eager to be rich, the embroidery art should to catch the popular fancy and focus on displaying the connotations of people’s hopes that praying for rich, profit, good luck and safety. So, as served as a national product, Qiang embroidery could be descended and developed at the same time. Therefor, we can conclude that there is potential large market for the national folk art’s enhancement and development.
In 21st century the most promoted idea we referred is innovation, we believe that based on maintaining the Qiang embroidery’s traditional essences and integrated with our rich and profound culture deposits and modern styles, thus produced works combined with modern fashion elements, we are able to obtain a broader space for development and display Qiang embroidery art’s unique charms.
Paper-cutting and embroidery are both folk industrial art forms of China, they both are indivisible parts of Chinese folk culture. As a wonderful art miracle of Qiang nation culture, Qiang embroidery, in terms of design, color, form or stitch styles, are all imbued with rich deposits of the ancient Qiang nation’s millennium culture and Qiang people’s ideas for life.
The author believes that the merits and meanings to dig out the Qiang nation’s folk embroidery and paper cutting art are not only exists in art scope, for us it’s undoubtedly valuable and significant to learn more about the history of this nation and be aware of the relationships between the Qiang folk art and that of other nations.
Qiang nation, also be called “the nation stay in clouds “, mainly live together in the Mao county of Aba prefecture, Wenchuan county and Li county, as well as the Beichuan autonomous county of Qiang nation in Mianyang city in Sichuan province China. “Qiang Embroidery” is a subsistent heritage of Qiang nation culture that most lively so far and closest to Qiang nation people’s life, it also is the best art communication bridge to the real-world, its forms, color matching and stitching styles are featured with significant ethnic characteristics.
Qiang nation people’s costume are gorgeous as well as simple, and whether men or women in Qiang nation are all prefer to wearing headscarves, they are accustomed to wear long linen gowns that woven by themselves, wear long cloth gowns, coats, sheepskin vests too, and “Yunyun shoes” (a sort of Qiang nation’s embroidered cloth shoes) on feet. A variety of geometric patterns of embroidery are familiar on Qiang women’s clothes and they usually wearing silver jewelry such as earrings, silver plates and so on, and wearing embroidered shoes with sharp hook toes. Men in Qiang nation generally tie hanging knives and leather wallets on the waist, they wearing fabric shoes or straw sandals, and wrapping wool puttees, also with waist belts tied on. Today, in areas close to the cities and towns of Han people, affected by the Han people’s clothing, Qiang people mostly wearing Han apparels and only wearing Qiang costumes in holidays.
Through the changes of history and turns of times, with the developing of Chinese cities, modern people favorite for going after changes and curious about adventures, as life styles and aesthetic concepts transformed, traditional folk embroidery appeared in cities from the countryside gradually, not only the sentiments and aspirations of citizen members have been infiltrated with embroidery art, but also thousands of families effected by and began to practice the skill of embroidery together.
Qiang folk art could switched to response the times, thus naturally to regain a new life. In particular, as in this prosperous millennium, people greet the occasion and are all eager to be rich, the embroidery art should to catch the popular fancy and focus on displaying the connotations of people’s hopes that praying for rich, profit, good luck and safety. So, as served as a national product, Qiang embroidery could be descended and developed at the same time. Therefor, we can conclude that there is potential large market for the national folk art’s enhancement and development.
In 21st century the most promoted idea we referred is innovation, we believe that based on maintaining the Qiang embroidery’s traditional essences and integrated with our rich and profound culture deposits and modern styles, thus produced works combined with modern fashion elements, we are able to obtain a broader space for development and display Qiang embroidery art’s unique charms.
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- Ethnic Embroidery of Qiang – a Miracle in Chinese Folk Art (3)
- Ethnic Embroidery of Qiang – a Miracle in Chinese Folk Art (1)
- The Untapped Wealth Of Indian Tribal Art Forms
- Wood Presents and Russian Painting in Art Shop Online
- Ethnic Embroidery of Qiang – a Miracle in Chinese Folk Art (4)
- Ethnic Embroidery of Qiang – a Miracle in Chinese Folk Art (2)
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- Folk Art – Craft From the Past
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Collage Techniques
Watson-Guptill Collage Techniques Collage Techniques
