The Charm of Pillows -- Chinese Folk Pillow Top Embroidery

Author: Li Hongfu
Publisher:
Publish Date: 2005-06-01
Features: A pillow is a very unassuming item, but for everyone, it is something that cannot be separated from throughout life. Unless for special occasions, one needs a pillow to sleep. At least one-third of a person's life is spent with a pillow. In this sense, although small, the function of a pillow is very important. When people mention a pillow, they naturally think of bedding, and few people mention its culture. Even fewer people recognize it from the perspective of cultural heritage. Dr. Li Hongfu's newly released book, The Charm of Pillows: Cultural Connotations and Symbolic Meanings of Pillow Top Embroidery, opens people's eyes and provides a fresh understanding of the culture of pillows, which are familiar to everyone. Dr. Li Hongfu, with a background in museum studies and extensive experience in the field, became a doctoral student in anthropology under my supervision three years ago, specializing in auspicious symbols of the Chinese nation. First meeting. She brought several samples of pillow top embroidery, and told me that she already had over 4,000 pieces in her collection, which truly surprised me. I have met many "stamp collectors," "antique enthusiasts," and "book and newspaper enthusiasts," but I have never heard of a "pillow top embroidery enthusiast." This student, if not for her persistent pursuit, would not have collected so many items. I have conducted research on auspicious symbols and even published a book titled Auspicious Symbols of China's Minorities, but I have never used a single pattern from pillow top embroidery. Her rich collection of pillow top embroidery has made me realize that although pillow top embroidery is small, it contains rich cultural connotations and is a valuable topic worth studying. Through her studies, Li Hongfu has broadened her horizons, improved her theoretical knowledge, mastered the theories and methods of ethnic culture, and made the transition from "collection" to "research." She completed her doctoral dissertation, The Cultural Connotations and Symbolic Meanings of Pillow Top Embroidery, passed the defense smoothly, and obtained her doctorate. This book is based on the doctoral dissertation and has been revised and edited.
As an object, the origin of the pillow is very early. Due to the material of early grass or wooden pillows, none have been preserved. However, ancient literature contains numerous records. From the Shuowen Jiezi by Xu Shen during the Han Dynasty to the encyclopedic Comprehensive Collection of Ancient and Modern Books of the Qing Dynasty, there are countless references to pillows. Yet, it was only in modern times that true research began. In terms of material, pillows are divided into two main categories: soft and hard. Hard pillows are primarily made of ceramics, as well as stone, jade, bronze, silver, and bamboo or wood. Soft pillows are sewn from materials such as cloth, silk, or leather, with fillings inside. In daily life, soft pillows are used most frequently, but very few artifacts have been preserved. In contrast, hard ceramic pillows have entered modern research due to their valuable cultural heritage value. In 1919, the Tianjin Museum in Hebei Province conducted scientific archaeological excavations and systematically organized and studied ceramic pillows unearthed in the city of Julu County in Hebei during the eighth year of the Republic of China, publishing several introductory articles and pioneering the study of ceramic pillows. Since then, ceramic pillows have become a focus of attention in cultural heritage and archaeological research. In 1954, the ceramic expert Chen Wanli published Pottery Pillows (People's Fine Arts Publishing House, 1954), which was the first monograph on the culture of ceramic pillows in China. Subsequently, ceramic pillows gained a prominent place in archaeological and cultural heritage research. Zhang Ziyin's Cizhou Kiln Ceramic Pillows (People's Fine Arts Publishing House, 2000) is considered a representative work in the study of ceramic pillows. As a collector, Yang Yongde of Hong Kong has an exceptionally rich collection of ceramic pillows. In 1984, the Osaka Municipal Museum of East Asian Ceramics in Japan held an exhibition of Chinese ceramic pillows from Yang Yongde's collection and published Yang Yongde's Collection of Chinese Ceramic Pillows (Osaka, 1984). In 1985, the Japanese scholar Hayao Konishi published The History of Pillow Culture (Kodansha, 1985), which utilized a large amount of material on Chinese ceramic pillows.
When discussing Chinese soft pillows, they can be broadly divided into two categories: one is the "foreign pillow" widely used by modern people, with a curved pillow face, which was introduced from the West in modern times. The other is the traditional Chinese pillow, sewn into a long cylindrical shape with square ends, often embroidered with various patterns, known as "pillow top embroidery." The presence of pillow top embroidery is a major distinction between traditional soft pillows and ceramic pillows, as well as a feature absent in modern "foreign pillows." Pillow top embroidery reflects the level of folk traditional embroidery craftsmanship in China, while its rich and diverse patterns showcase the value orientation of traditional Chinese auspicious culture. Therefore, soft pillows, especially pillow top embroidery, should not be overlooked as an important topic in the study of traditional Chinese culture. Grasping pillow top embroidery is equivalent to grasping the cultural core of traditional soft pillows. In recent years, some studies on soft pillow top embroidery have appeared in folk and craft research writings, but they have not yet reached the level of specialized research. The author points out in this book: "In contrast to the noble status of cultural relic ceramic pillows, traditional soft pillow top embroidery has long been neglected and overlooked. However, the cultural, craft, artistic, and folk heritage value of soft pillow top embroidery cannot be underestimated. If ceramic pillows are like a graceful and elegant lady who has already made her debut, then pillow top embroidery is like a young and beautiful maiden waiting to be discovered. Soft pillow top embroidery should be, and can be, another main branch of pillow culture that shines alongside ceramic pillows."
Through years of painstaking effort, Dr. Li Hongfu has presented this book, the first monograph on the study of traditional Chinese soft pillows, filling a gap in the research on the culture of pillows. With abundant images of actual artifacts, she showcases the colorful world of pillow top embroidery and reveals its auspicious cultural connotations from the perspective of ethnology and cultural anthropology, analyzing the symbolic meanings of the patterns and demonstrating that soft pillow top embroidery is an invaluable heritage of traditional Chinese culture. Her pioneering contributions are commendable.
Most pillow top embroidery patterns are auspicious motifs. The concepts of good fortune, misfortune, happiness, and disaster are among the earliest formed values and have been a long-standing topic of human concern throughout history. In traditional Chinese auspicious culture, numerous auspicious symbols and patterns have emerged. In traditional culture, auspicious patterns are often found in handicrafts, artworks, and buildings. In recent years, numerous works on auspicious symbols and patterns have been published, but none have utilized pillow top embroidery patterns. Dr. Li Hongfu's book presents a comprehensive and distinctive of auspicious patterns in pillow top embroidery, showcasing the richness and diversity of traditional Chinese auspicious motifs. It can be said that folk pillow top embroidery is a microcosm of traditional Chinese auspicious patterns. This book represents an important breakthrough in the study of auspicious patterns of the Chinese nation.
When discussing the auspicious patterns in pillow top embroidery, the author states: "In traditional Chinese society, from emperors to commoners, despite their vastly different value orientations, all pursue 'fortune' as the highest aspiration in life, without exception. Emperors seek 'great fortune,' officials seek 'official fortune,' and the common people pursue 'peaceful and prosperous fortune.' Pillow top embroidery reflects the 'prosperous fortune' of the common people in traditional society, as well as the 'prosperous fortune' of the agrarian society."
This book offers a unique and insightful perspective on understanding traditional culture through auspicious patterns in pillow top embroidery. The publication of this book will undoubtedly play a positive role in advancing the burgeoning field of traditional auspicious culture research. For modern young people, the pillows studied in this book with pillow top embroidery are not just unfamiliar; many have likely never even seen one. Traditional soft pillows are currently in the process of disappearing, and rescuing and preserving this cultural heritage is an urgent and important task. Dr. Li Hongfu's book has opened a new realm in the study of soft pillows. However, this is merely the beginning. The materials used in this book are largely limited to the Northeast and North China regions, with broader areas yet to be explored, especially the pillow culture of ethnic minorities in the western regions, which urgently needs to be discovered. It is hoped that Dr. Li Hongfu will continue to persevere and make further contributions to the study of pillow culture, producing more outstanding works.
Before the publication of Dr. Li Hongfu's achievements, I was asked to write a few words. This is the preface.