Global Times: Originating in lieu of writing, Miao embroidery goes global as fashion item

BEIJING, Dec. 21, 2024 /PRNewswire/ — From exquisite craftsmanship to traditional Chinese medicine, from solemn rituals to vibrant folk art, intangible cultural heritage weaves the tapestry of Chinese identity. For centuries, the essential elements of intangible cultural heritage have been passed down from master to apprentice, and from generation to generation. In this series, the Global Times culture desk will walk readers through China’s most renowned traditions.

Decorated with patterns like the butterfly that symbolize the maternal love and vitality, Miao embroidery is not only China’s Intangible Culture Heritage (ICH) embroidery style, but a distinct art dubbed as the “wordless epic” of China’s Miao ethnic minority group.

The Miao ethnic minority group boasts a rich history but lacks a systematic written language. In lieu of writing, generations of the Miao people developed a tradition of stitching patterns on cloth to document their daily lives, migration stories and cultural beliefs.

This tradition not only marks the origin of Miao embroidery, but also elevates it beyond mere craftsmanship. It serves as an artful expression of the Miao people’s chronicles that continues to resonate in the modern era.

More than stitches

Miao communities are mainly distributed in Southwest China’s Guizhou Province, and Miao embroidery originated in various areas across the province, including its southeastern counties of Leishan and Jianhe, and Kaili city.

Taking the Leishan Miao embroidery as an example, it is known for creating multi-dimensional designs through intricate stitching techniques known as “lock embroidery” and “braid embroidery.” By braiding colored silk threads, the embroidery exhibits relief-like aesthetics and features layered compositions.

“Although 3D design is also used in Chaoshan [in east Guangdong Province] embroidery, its presence in Miao art is tied to more mythical and folklore-related aesthetics,” Qiu Xiaoyan, an embroidery expert, shared with the Global Times.

The cultural symbolism behind the Leishan Miao embroidery is what earned its recognition as a national-level ICH item in 2006.

A key motif in the Leishan Miao embroidery is the combination of “butterfly, gourd, bird and petal,” which depicts a legendary Miao tale in which birds rescue a child who has fallen into a gourd. Nowadays, this particular motif can still be seen on children’s clothing, representing blessings of health and prosperity.

In addition to the Leishan branch, Miao embroidery, based on different villages’ indigenous tales, has developed more than 100 niche styles characterized by diverse patterns.

In the eastern part of the province, Miao people use animal patterns such as phoenix and Chinese dragon to convey the meaning of happiness. Other patterns, like the centipede-shaped dragon, the “yin and yang fish” and the sun, reveal China’s Miao people’s reverence for nature as well as their longing for harmony.

Unlike some embroidery traditions that focus on realism, Miao embroidery is characterized by a combination of abstract imagery and familiar motifs. Taking the “yin and yang fish” as an example, the fish is a symbol of prosperity and good fortune in Chinese culture. But the two fish symbolizing male and female in Miao embroidery denote wishes for a happy marriage. Therefore, this pattern often appears on Miao wedding dress, and is often embroidered by the bride.

There exists a wealth of Miao embroidery patterns, but they all aim to “depict the evolving cultural narratives of the Miao ethnic group,” Niu Hongjuan, an expert of Chinese fashion history, told the Global Times.

Following the Miao people’s historical migration, the embroidery embodying ethnic cultural narrative has been spread to other places such as South China’s Hainan Province. The province is home to China’s Li ethnic minority. Through the integration of the two ethnic cultures, seaside plants and ethnic Li people fairytales started to emerge among the themes represented in traditional Miao embroidery.

“Miao embroidery exemplifies how diverse Chinese ethnic cultures take inspiration from each other through exchanges,” Qiu told the Global Times.

Looking to the future

Considered as a kind of handicraft, the Miao embroidery has been treated as a practical daily necessity to be passed down through generations.

By noting the Miao embroidery is traditionally practiced by women, Yang Chunlin, a young inheritor of Miao Embroidery, told the Global Times that a girl’s embroidery journey in his village often starts at the age of 7 or 8, and then it will continue throughout her lifetime.

“It is like a cycle, but each generation of Miao embroiderers have their own personal preferences, and will add some new elements to the tradition,” Yang emphasized.

It is because of such consistent inherence of the Miao embroidery that the ICH is then able to reach more people, including overseas visitors, Yang told the Global Times. 

Apart from being an ICH inheritor, Yang has also established his own Miao embroidery brand.

As the Miao embroidery’s trendsetter, he gathered old embroidery pieces from a flea market in his hometown, Kaili to launch an “old embroidery rejuvenation” program that promotes sustainable Miao fashion.

In September, a total of 40 Chinese Miao embroidery artists, including Yang and his mother, were invited to the London Fashion Week in the UK.

The team brought a Miao embroidery piece inspired by patterns of a Ming Dynasty (1368-1644) glazed tile, which was put on display at the show. Commenting on the event, Yang told the Global Times that he considers embroidery as a window for people to see the depth of traditional Chinese culture.”

“The ethnic embroidery serves as an excellent entry point to showcase Chinese culture to the world,” Niu told the Global Times, adding that there is a “definite trend” for more Chinese ethnic ICH items to be staged on the global fashion stage in the future.