The Assisi embroidery are as beautiful as modern day carpets. Check out the Snowflake design to the left. The intricate patterns of this hand embroidery would leave the viewer stunned. As one can see, it is the voids that make the design while the stitches outline it.

Italy has had a long historical tradition of bright and colourful embroidery. In the thirteenth and fourteenth centuries monastic embroideries developed a simpler style where designs and motifs were voided on fine linen cloth with the outlines and background embroidered in coloured silk. Motifs were strongly influenced by traditional designs of bird or animal pairs surrounded by elaborate scrollwork. These early articles were most often used for religious purposes e.g. altar cloths and chasubles.

One can see a basic Assisi embroidery below which gives a clear picture of the cross stitch techniques used.

In the eighteenth and nineteenth centuries, however, this form of embroidery fell into decline and many of the designs and motifs were lost. It was only at the turn of the 20th century that the practice was revived in the Italian town of Assisi from which this form of embroidery gets its name. In 1902 the ‘Laboratorio Ricreativo Festivo Femminile San Francesco di Assisi’ was established. The aim of this handicrafts workshop was to revive traditional local handicrafts and provide employment to poor women to supplement their income. This cottage industry flourished and these more modern designs, using the counted thread technique, quickly spread throughout Italy, Europe and further abroad.

In the last 20 years, a modern version of Assisi embroidery has evolved. Many different colours and patterns are used for the background, and the motifs are extremely varied. However, it is heartening to note that the traditional version is still practised in the town of Assisi where one can see the local women sitting in front of their houses and embroidering Assisi work items for the local co-operative embroidery shop.

Check out an Assisi embroidery techniques book by Pamela – Assisi Embroidery: Technique and 42 Charted Designs (Dover Needlework)

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The history of motifs traces way back to the ninth century when such a colorful fashion was in vogue in various parts of Europe.  This evinced interest and the art spread across in various forms across the world.   Since this is an embroidery art, the essence of each region was visible in the patterns and one could distinguish the culture or the state only by seeing the embroidery motif.

I came across an interesting book – Palestinian Embroidery Motifs: A Treasury of Stitches 1850 – 1950.   This is a vast embroidery treasure trove and recommended reading for every hand embroidery enthusiast!   Margarita Skinner focuses on the motifs used in embroidery which include the Tall Palm motif (also known as Ears of Wheat) of the Ramallah area, Scissors and Roses from Gaza, the Key of the Heart from Bethlehem and the Cypress Tree motifs found all over Palestine.   She says : “The embroidered dresses of the Palestinian women are very much like Persian carpets. They are not only unusually beautiful. They also tell stories.” In the Negev, unmarried Bedouin girls and widows wear dresses with blue embroidery. Once a widow remarries, red or pink embroidery is added.  The book documents more than 250 motifs, giving their names in English and Arabic and identifying the areas of Palestine from which they come.   Falak Shawwa‘s stunning photographs capture the artistry and vibrant colours of the motifs, and the splendour of festive dresses.   Each area of Palestine had characteristic embroidery.  Ramallah, together with Bethlehem and Beit Dajan, was well known for its lavish embroidery.  The embroidery on a festive dress could have 200,000 cross-stitches.  Bethlehem‘s skill in the art of couching made it the “Paris of Palestinian village fashion”.

If you try to trace back to the Palestinian history, it may not be exactly known when women in Palestine started to put thousands of stitches on dresses, coats, jackets, veils and cushions. Research on Palestine embroidery has found no examples earlier than the 19th century.   In Palestinian villages, the tending of chickens and selling of eggs was the domain of women, who used this source of income to buy thread and fabric. Girls in Palestine grew up watching their mothers embroidering, and learnt the skill from the age of about ten.  The primary stitches used in Palestinian embroidery are cross-stitch and couching. In couching a thick thread is positioned on top of the fabric, and a thinner thread is stitched over it to keep it in place. This gives a curving design, of which there are many examples in Palestinian Embroidery Motifs.

Wish you an enriched learning on our ancient arts!

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So, when did paper embroidery begin in the world?  Let us trace the evolution and history of this unique and amazing art.

Pin Pricking
The history of embroidery on paper can be traced back to the late 1700’s when pin pricking was used to adorn paper cards and enhance painted pictures. The pricking was done from either side which gave a different texture. Different size needles and tools were used to create various size holes. It is recorded that in the early 1800’s, Marie Antoinette used pin pricking on stationery she sent while imprisoned. Pin pricking surely had some influence on the Victorian fancy-work designs that used a pre-punched paper. This can certainly be considered embroidery on paper because the ladies stitched the pre-printed designs using the holes in the paper. Many of these designs were used as Christmas ornaments or wall hangings. The larger designs were of the mottos of the day, often spiritual in nature. As with many needlework techniques, this one began to die out in the early 1900’s.

String Art
String art was invented by Pierre Bezier in the late 1700’s. This refers to an arrangement of string that forms abstract geometric patterns or patterns that resemble an object.

Spirograph
Another contributing factor was the invention of the Spirograph by British engineer Denys Fisher. This new toy debuted at the 1965 International Toy Fair.  The Spirograph produces mathematical curves using disks made of plastic with holes strategically placed in the plastic circle.

And finally…Paper Embroidery

With an evolution of art springing from the above forms, in the 1980’s people started creating scrapbook pages and handmade cards. Creativity flourished and soon embroidery on paper began appearing. Dutch designer Erica Fortgens began writing books with patterns and instructions and officially the terminology – paper embroidery came into being.

Check out the sample of paper embroidery alongside this post.  As you can notice, the holes are prepunched by the embroiderer and the needle then passes through the holes along with the thread. This process is critical else the paper would get damaged.  A paper embroiderer needs to master this art of prepunching first before moving to the next step.

Wish you all the luck in all your projects!

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It has enjoyed high reputation as “a treasure of Sichuan” ever since the Han Dynasty (206BC-220AD).  The craft of Shu embroidery reached its peak during the Song Dynasty (960-1279) and this resulted in flourishing of embroidery workshops in the Qing Dynasty (1644-1911).

What is the speciality of Shu embroidery?  These patterns are renowned for its superb workmanship, smooth and bright in quality. It has strong expression and artistic effect. The features of it are said as “fine and smooth needlework, simple and elegant colors, graceful and easy lines and the traditional Chinese paintings’ style “. Its needling characteristics lie in “the even stitches, bright threads, closeness and softness in texture, and both centrifugal and centripetal needling”. The embroidery takes locally-produced colorful satin and threads as its materials.   Just take a look at one of the typical patterns along with post and you would see the above characteristics fall in place..

The unique designs on Shu embroidery include flowers, birds, landscapes, fish, worms and human figures. Its products include pillowcases, embroidered slippers, mirror curtain, lace, wedding dress, scroll, hats and shoes, skirts, quilt facing, etc.

What does Shu denote?   There is an underlying theme that runs in this style – auspicious happiness – and you would notice that this would be seen in all of its embroideries!

How does one practise Shu? – Shu embroidery is done on the soft satin fabric from Sichuan province. It engages brightly colored threads, evenly stitched to produce a delicate picture or pattern.  Shu embroidery is particularly characterized by the closeness of its stitching, which allows Shu embroiderers to highlight miniscule details in the subjects they produce.  A Shu embroidered piece may include hundreds of thousands of stitches in a single figure or animal, and may take many days or even weeks to complete.  One of the most popular subjects for Shu embroiderers is the panda bear, but scenes of nature of any kind are common.

Recently an intangible cultural heritage expo has opened in Chengdu, capital of southwest China’s Sichuan province. Exhibits from around the country are being shown at the expo, which has grown considerably in scale and offers more interactive activities and on-the-spot demonstrations.   The displays prompt many to capture the scene with their cameras. The distinctly regional features being displayed set each of provincial booths apart. On the spot demonstrations are available, such as engraving a pair of scissors, to show the complicated craftsmanship involved.

Chen Xiaoya, artist, said, “The Shu Embroidery employs over a hundred ways of stitching, thirty of which are in regular use. Young people, who are often restless, are reluctant to take on the craft.”

So all my Chinese and Eastern lovers – all the best while you practise this ancient art of embroidery!

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You are welcome to visit the Embroidery Forum.   This has recently been launched…  Feel free to post in your articles in relevant categories and use it as your area to unwind.

There are various broad areas of interest like embroidery digitizing, business, technical  which are further subdivided into more specific topics.

Join the embroidery community and stay linked in.

Warm Regards

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One of them is the Netaji Subhash Open University at Woodburn, Kolkata (established in 1997) where you could get enrolled for Certificate in Embroidery and Needlework followed by an Advanced certificate in fashion, embroidery and textile designing.

Far down in New Zealand, the Wanaka school (established in 1984) by Gay Eaton of Dunedin is a long serving member and a recipient of a New Zealand Order of Merit for her contribution to embroidery.   Every year, about 370 women travel from around New Zealand to attend the school and learn different aspects of needlework and embroidery skills.

Mridula’s school of embroidery based at Chennai covers both Eastern and Western aspects of embroidery.   Mridula Nagarajan – Founder of the School brings more than forty years of rich experience teaching and researching across the gamut of the Indian and International embroidery.  The school   Indian embroidery courses include Kantha from Bengal, Kasuthi from Karnataka, Kutch from Gujarat, Mirrorwork (Gujarat and Rajasthan), Phulkari from Punjab, Chikankari from Uttar Pradesh, Toda from Tamil Nadu, Kashmiri from Kashmir.(taught through regular school and correspondence courses).   European embroidery courses include Spanish Blackwork, Cross stitch & Assisi, Lagartera, Bargello, Norweave and Kelim. (taught as regular courses).   The school also has a comprehensive course on Aari & Zadosi (Tambour) Embroidery with a variety of applications taught.   Dress making courses through which students can master pattern making and tailoring of dresses is also part of the regular curriculum.

The regular diploma certificate courses consists  of the following groups.

Group I : Freestyle embroidery and Indian embroidery.

Group II : Counted Thread embroidery and European embroidery.

Group III : Aari and Zardosi

Group IV :  Fashion Dress design and Tailoring.

Select correspondence courses are also available.

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These natural colored shawls are generally woven by young girls for themselves, their brothers or lovers.  The colors of the embroidery threads are vibrant vegetable colors like red, green or yellow.  These dyes are extracted from juices of leaves, roots and turmeric.  Green symbolises prosperity and fertility and stands for the earth goddess.   Yellow symbolises happiness, peace and health.  Red or maroon signifies blood or animal sacrifice and stands for vigour, strength and revenge.  Depending on the mood, the occasion and the wearer for whom it is meant, one of these 3 colours would stand out in the embroidery designed shawl.   It generally takes 3 to 4 months to complete one shawl.  The girls do the weaving and embroidery while they tend the crops or look after the cattle.   While older men sport simple motifs on their shawls, the brother wears an artistic piece.   During ceremonial dances or in a bustling marketplace, if a boy flings his shawl at a girl, it signifies that he wants to marry her.  The girl has a choice of accepting the shawl or throwing it back.  If she accepts, the couple meets and marries with the consent of their families.   The boy can also make the marriage proposal by snatching away the shawl from the girl.

The Dongoria Kondh embroidered shawl is a symbol of pride of the wearer.   A beautifully embroidered shawl is the cynosure of all eyes in a marketplace.  These shawls sell in the marketplace at prices ranging between Rs. 500 and Rs. 700.

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Embroidery is an old industry believed to have started during the reign of Alaungpaya, founder of the Konebaung dynasty. Shwe-ge-doe embroidery is elaborately designed and creatively embellished with ornaments for grandeur. The technique of Shwe-go-doe is as follows : Tapestry is made by using the base cloth, usually black and adorning it with metallic sequins, coloured glass beads, and figures that are stuffed to give a distinctive three-dimensional effect.  Each tapestry depicts a character or a narrative from Jatakas or the Ramayana epic. These appliqué tapestries can be sized from 25cm by 25cm to 6m by 1.5m.  Jackets, pasoes, longyis are also beautifully embroidered for special functions.  Mandalay is the center of this industry.

About Myanmar : Despite modern changes and globalized cultural blending, Myanmar people have been able to preserve their own lifestyles and activities that have existed since time immemorial. The people of Myanmar communicate in their own language, wear their own style of clothing including the longyi, relish their own style of food, pray in their own way, play their own games, celebrate their own festivals, receive treatment with their own traditional medicines, and perform their own rituals remaining as Myanmar as possible in every aspect. Many of the life styles and activities are unique to Myanmar people. For example, the Shin Pyu or novitiation ceremony, which allows a young boy to experience temporary monastic life, is a religious practice virtually nonexistent in other parts of the world. Although some of Myanmar’s beliefs, superstitions, customs and lifestyles have gradually disappeared, many still remain and are cherished and highly valued by the majority of the people.

Museum of Korean Buddhist Art is a Buddhism museum established in July 1993 in Wonseo-dong, Jongno-gu, Seoul, South Korea.   This museum is holding a special exhibition of Myanmarese embroidery.  It is the second Southeast Asian Buddhist art exhibition since the museum hosted the Laotian Buddhist Sculpture Exhibit last year.

The exhibition presents 30 pieces of Myanmar embroidery, which are exotic and flamboyant, a rarity in Buddhist art, which mostly include paintings and sculptures.  Myanmar is called the nation of Buddha pagodas and Buddhist monks, which demonstrates how the religion dominates the country.  As Buddhism is deeply rooted in the lives of the Myanmar people, most of the embroidered works involve Buddhist symbolism.

The traditional embroidery of Myanmar uses elaborate materials such as gold and silver thread, marbles, gem stones,  pearls  and metals.

The exhibition is designed to introduce the uniqueness of Buddhist culture in South East Asian countries though showing off a variety of historic relics.

On the first and the second floors, a variety of embroidered fabrics depicting the life and good deeds of Sakyamuni are on display.  Beside the embroidered fabrics, 6 other Buddhist artworks including sculptures and paintings from Myanmar are presented to provide a window into their lives, culture and beliefs.

South East Asian countries are known for textile artworks from the ancient times, which shows the ancestors’ beliefs, religion, customs and culture.

Also, the fabric artworks were often regarded as incarnated ancestors with spirits in South East Asian countries. So the textiles were hung on the wall when people held a festival or a ritual thanksgiving ceremony to their ancestors.

The museum explains why some artworks feature Buddha as a king, servant, or peasant; or as an animal such as an elephant, lion, deer, rabbit,  monkey, peacock or fish.

Among others, the embroidered paintings depict the previous lives of Buddha that are divided into 547 stories, expressing Buddha as various entities such as man, elephant, deer and lion.

The museum was established in July 1993 as a private museum located near Changdeok Palace in central Seoul.  Traditional Korean Buddhist works, which display the joys and sorrows of life and express a longing for the wishes of all living beings, have historically been regarded as not only the spiritual foundation, but the precious cultural heritage of the Korean people.

The museum has collected over 6,000 Korean Buddhist works including paintings, sculptures, crafts, ritual items, folk items and ceramics.

The exhibition will continue till Sept 28 2008.   Admission is 3,000 won (Currency of Korea – 1100 won equals one dollar) for students and 5,000 won for adults.

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Museum Center at 5ive points is (as its name sounds) an unique center coupled with cultural activites.  This museum based out of Cleveland, Tennessee, was open to public from Sep 1999.   The Museum houses exhibits and artifacts relating to the history of the Ocoee Region of Tennessee which includes Bradley and Polk Counties . The Museum store is a gallery showcasing the arts and crafts of the South.   But the diversity of this museum has encompassed a wide category of subjects which include wood turning, blowing glass, doll making, jewelry to name a few.

Quilting is a recent obsession and the museum plans to launch full fledged into this arena this year through its popular quilt exhibit – Stitches in Time.   The highlight of this exhibit is a quilt challenge competition from January till March 2009.  The theme this year is “Old Into New”.

The rules of the challenge are as follows :  Quilters can submit either a quilt, wall hanging, garment or accessory using vintage textiles, pieced or appliquéd blocks. The quilter may use any method of piecing and quilting, whether strip piecing, paper piecing, appliqué, free motion, hand embroidery or another favorite technique. The challenge piece must have a recognizable amount of vintage fabric. Other fabrics may be added to complete the design. Quilts must be quilted and bound. Quilts and wall hangings must have a 4” sleeve attached to the back for hanging.

The finished pieces must be submitted from January 5-9, 2009. They will be judged by a panel of judges and there will be three monetary prizes given: $100 for first prize, $75 for second, and $50 for third prize. The pieces will be displayed during the Stitches-In-Time exhibit at the Museum Center at 5ive Points from January 22 – March 7, 2009 with the other Challenge pieces.   This Quilt Challenge is being sponsored by Joe Hooper Insurance, Jane Easterly Designs and Kingsway Press, Inc.

So, quilters – what are you waiting for — With the competition heating up in a matter of months, quilters from all walks of life should grab their fabric and get to work today!

To receive a Quilt Challenge information flyer with contest rules or to speak with someone about the Quilt Challenge, please call the museum at 423-339-5745 or a Stitches-In-Time Quilt Exhibit committee member at 423-472-3155.

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(Photos taken on July 31, 2008 shows 2 parts of the giant handiwork of Panxiu Embroidery gifted as best wishes for the Olympics by the Tu ethnic group in Beijing, capital of China)

What is Panxiu embroidery? Panxiu embroidery is a traditional Chinese hand embroidery – specialised and perfected by the Tu ethnic minority. The Tu ethnic minority, known for their simplicity and industriousness, lives in the northwestern part of China – to the east of Qinghai Lake and south of Qilian Mountain Range and along the banks of the Huangshui and Datong rivers. It is concentrated mainly in the Huzhu Tu Autonomous County in Qinghai Province, and also in the counties of Minhe and Datong. Others are scattered in Ledu, Menyuan and the Tianzhu Tibetan Autonomous County in Gansu Province.

Embroidery is a technique generally favored by all ethnic minorities in China, usually used in the waistband, the headband, the apron and some rapid-wear parts such as the wristband, edge of the skirt, border of the front, the round shoulder, the swing-down, the bottom of trouser-leg etc. being both decorative and practical. Techniques of embroidery include cross-stitch work, applique, embroidering and so on; the methods of embroidering include pingxiu (flat embroidering), chouxiu, bianxiu(weaving embroidering), jiexiu(knotting embroidering), panxiu(embroidering with a disk), etc.; the patterns include natural scenes, auspicious patterns and geometric patterns and so on.

What is the speciality of Panxiu Embroidery? Panxiu embroidery is used as a decoration on Tu women’s attire. The skill has been passed down from mothers to daughters for 1600 years. Silk threads with seven different colors are used to make Panxiu embroidery. No canopy is used. With cloth in the left hand and a needle in the right hand, an embroiderer only uses one threaded needle to do both sides, front and back, of a single piece of cloth. Although Panxiu embroidery is complicated and time-consuming, it is durable and artistically pleasing. It is also dainty and delicate which portrays the cultural beauty of the Tu dynasty. The commonly embroidered patterns are traditional patterns of the Tu minority, such as cloud patterns, diamond patterns, and Buddhist figures. The 1,600-year-old Tu Panxiu embroidery has great artistic and cultural value. However, this art form is close to extinction because more masters are elderly and young women prefer less complicated ways of embroidering.

Why has it suddenly shot to light in the last few days? 30 year old Huang Lansuo’s efforts during the last fortnight has brought this beautiful embroidery artwork into the global limelight. She came to Beijing all the way from her home in Qinghai-Tibet Plateau, Huzhu Tu Autonomous County of northwest China’s Qinghai Province, bringing her proud gift to the world, a 10-meter-long handiwork of Panxiu Embroidery of the Tu ethnic group. The delicate work, with lifelike characters of animals and plants on Qinghai-Tibet Plateau and dancing scene of China’s 56 ethnic groups, plus with the symbol of the Beijing 2008 Olympic Games emblem “Chinese Seal”, mascot “Fuwa” and the Olympic Rings, was embroidered by some 160 women led by Huang Lansuo of the Tu ethnic group to express their best wishes to the Beijing Olympic Games.

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