Mother's Flowers: A Historical Quest for Shaanxi Rural Embroidery Art

Author: Wang Ningyu
Publisher:
Publish Date: 2002-10-01
Features: This book is a comprehensive and illustrated work on Shaanxi folk embroidery art, and one of the rare outstanding achievements in China's recent exploration of folk art. The book collects a large number of precious embroidery materials, and what is particularly valuable is that most of these materials were personally investigated by the compilers. The compilers themselves are art scholars deeply passionate about Shaanxi embroidery. Since the early 1980s, they have conducted field surveys with a group of art workers, persisting for nearly 20 years. In over 100 counties and cities in Shaanxi, their footsteps have covered nearly half, while the counties and cities where they collected works account for 90%. With their expert eyes, the selected works are not only numerous but also of outstanding quality, such as pillow tops, belly wraps, tiger head hats, children's vests, bibs, tiger head shoes, shoe soles, (sleeve covers), door curtains, hair clips, and skirt ties, etc., showcasing a new realm of art. The 28 fish patterns, 48 bird patterns, and 24 black-and-white sketches of needlework styles described in the book further demonstrate the compilers' dedication and meticulousness.
The attention and study of Shaanxi folk embroidery actually began in the mid-1950s, when art workers in Shaanxi achieved certain results. Although this book only selects over 500 works, they are carefully chosen from a vast amount of material, making them highly representative. This foundation of extensive and profound research is a key reason for the book's success. Shaanxi's folk art has a long history, and embroidery is one of its important categories. Although it may not be as famous as the "Four Great Famous Embroideries," it has attracted attention due to its long history and distinct local characteristics. Mother's Flowers is a "historical pursuit" of Shaanxi folk embroidery art. Following this approach, the compilers have meticulously structured the book, dividing it into seven parts—"Cradle," "Daughter's Heart," "Spring Blossoms and Autumn Fruit," "Mother's Hands Hold the Thread," "Farmhouse Charm," "Literary Masters' Style," and "Embroidery's Magnificent Chapter"—and employing knowledge from archaeology, history, literature, and art to provide vivid and well-organized discussions on the historical origins of Shaanxi folk embroidery, its relationship with traditional culture, its themes and artistic features, and its connection to production, daily life, and folk customs. The text is not lengthy but highly engaging, complemented by over 500 embroidery pieces and related photographs, creating a harmonious balance that allows readers to gain a comprehensive and systematic understanding of Shaanxi folk embroidery.
Because the compilers conducted in-depth field surveys and collected embroidery works in rural areas, the location and time of production, the specifications of the works, the names of the creators, and even the intended uses of the pieces, along with images of related activities, are all clearly recorded or reflected in the scenes. This provides the works with a specific context and background. Only within this "context" do these embroidery pieces transcend being mere static works; they become living entities imbued with spirit and vitality, containing a wealth of information.
Through the method of "from object to person, from event to meaning, from emotion to history, and from specific links to the overall cultural chain," the compilers reveal the combined practical and aesthetic qualities of these works, showcasing the rich diversity of folk customs reflected in them, such as seasonal festivals and life ceremonies. The title Mother's Flowers is said by the compilers to represent the maternal longing, love, and sense of responsibility that shine through in folk embroidery art.