Folk Art · Hubei Embroidery, Fabric Pasting

Author: Chief Editor: Fang Xiangxia
Publisher:
Publish Date: 1999-04-01
Features:
Fragment: The "Han Embroidery" popular in Hankou and Honghu areas, though originating from folk art, has been refined and elevated by generations of artisans. It has developed certain patterns and styles, and has gradually specialized through organized, planned workshops. Embroidered items from these workshops are known for their large sizes, such as bedding, baby carriers, costumes for opera performances, birthday banners, and screens. Some are adorned with gold and silver threads or gold leaf, exuding elegance and differing significantly from folk embroidery rooted in tradition. Embroidered pillowcases are ubiquitous in Hubei. In the past, pillows were rectangular, filled with cotton or husks, and embroidered at both ends. They were typically grouped in sets of four, often featuring themes like "Fisherman, Woodcutter, Farmer, and Scholar" or "Plum, Orchid, Bamboo, and Chrysanthemum" for symmetry.
The "oil applicator" was a daily necessity for women's hair care, a circular tool about 2 inches in diameter, made of absorbent, grease-removing cotton fabric. It was embroidered with patterns and used to apply oil to the hair. Due to its small size and ease of embroidery, it was favored by village girls and women, who competed to showcase their craftsmanship by decorating them with intricate designs.
Embroidered shoe soles are particularly renowned in Hong'an. In the past, rural people wore cotton shoes, sandals, or straw sandals, and shoe soles added comfort and breathability. They were essential household items. According to Hong'an customs, brides-to-be would embroider dozens of pairs of shoe soles, selecting the best ones as tokens for their intended and the rest as part of their dowry. Common patterns symbolized marital harmony and love.
In East Hubei, the "cloud shoulder" is known as the Chinese-style "wedding veil," a decorative piece meticulously crafted by embroiderers for the bride's attire. It consists of interconnected embroidered panels, often with an opening on the front or back, attached to colorful ribbons with bells at the ends. When worn, the bride appears resplendent, and the swaying ribbons and tinkling bells add liveliness to the wedding.
Embroidered patchwork, also called "appliqué," is a form of embroidery. It uses leftover fabric scraps to create various patterns on a base cloth, first secured with paste and then stitched along the edges to fix the design. In rural areas of Yangxin in southeastern Hubei, brides often carry a unique "fabric scraps bag" filled with leftover materials from sewing wedding clothes and dowries. After marriage, they use their free time to sew embroidered clothing, baby carriers, feeding pouches, shoes, and hats for their newborns—affordable yet durable and beautiful. The unique stitching method of embroidered patchwork emphasizes overall composition and variation rather than intricate details.
Hubei is the birthplace of Chu culture, and folk embroidery still retains traditional Chu elements to some extent. The Chu people revered the phoenix, so phoenixes in folk embroidery display a wide range of poses—some majestic and powerful, others graceful and ethereal. With their large crests and multicolored feathers, phoenixes may have one, two, three, or even no tails, all imagined freely by artisans. For festive occasions, folk embroidery often features bright red or deep red backgrounds, while everyday items are more commonly black or dark blue. This is partly practical—red symbolizes good fortune and vibrancy, while black is durable and stain-resistant—but it also reflects the Chu ancestors' preference for these colors.
Postscript: In 1987, the exhibition of Hubei folk art at the National Art Museum of China garnered positive attention from the cultural community, challenging the perception that Hubei's folk art lacked individuality. Subsequently, these works were showcased internationally as outstanding representatives of Yangtze River culture and were widely acclaimed. To promote national culture, these treasures were compiled and published for inheritance, research, and reference. Starting in 1995, an editorial team composed of the Hubei Fine Arts Publishing House, the Hubei Provincial People's Art Palace, and the Hubei Provincial Antiquities Store selected and photographed collections from the provincial art palace and antiquities store. They also conducted in-depth surveys in various districts, counties, and mountainous areas, focusing on wood carvings, bamboo carvings, stone carvings (primarily tombstone carvings from Lichuan and Baokang), brick carvings, shadow puppets, and other scattered pieces.
During this process, support and assistance were provided by the cultural management committees, museums, and cultural centers of Enshi, Lichuan, Xianfeng, Laifeng, Changyang, Yuan'an, Baokang, Tongshan, Tongcheng, Macheng, Hong'an, and Xiantao. Rubbing prints were provided by Mr. Liu Changwu, while Mr. Zhang Lang, Mr. Yin Xiangyi, Mr. Zhang Xingwen, Mr. Yu Shaoqing, and Mr. Xian Lulin contributed textual materials. Mr. Yu Yawan took some photographs, and all are hereby acknowledged with gratitude.