Qiao Yingju
01 · Lineage & Regional School
Qiao Yingju, Female, Han, from Huangzhong, Qinghai, is a sixth-batch national representative bearer of Huangzhong Appliqué Embroidery (Ⅶ-72). The tradition is documented in Huangzhong, Qinghai. Within the regional tradition and school record of Huangzhong Appliqué Embroidery in Huangzhong, Qinghai: Huangzhong pile embroidery is a folk embroidery art popular in the Huangzhong County area of Qinghai Province, distributed mainly in the townships of Tianjiazhai, Duoba, and several others. Huangzhong pile embroidery is a product of the fusion of Han and Tibetan cultures, its history traceable to the period when Princess Wencheng entered Tibet in the Tang dynasty. During the Jiajing reign of the Ming dynasty, Huangzhong pile embroidery entered its peak period; by the mid-to-late Qing dynasty it began to decline. In the early years of the Republic, the second Jiaya Khenpo, Lobsang Dargye, vigorously promoted the art of pile embroidery, reviving its fortunes; it has been transmitted to this day among monastery monks and folk artists.
02 · Mastery & Signature Works
The bearer record for Qiao Yingju is anchored in the documented technical standards of Huangzhong Appliqué Embroidery in Huangzhong, Qinghai. Within the documented technical tradition of Huangzhong Appliqué Embroidery in Huangzhong, Qinghai: At that time Princess Wencheng brought silk and embroidery from the Central Plains to Tubo, after which various weaving and embroidery techniques gradually spread to the Qinghai-Tibet region; Huangzhong pile embroidery took shape and developed against this background. In the Huangzhong area there is a saying that “anyone who can do needlework can do pile embroidery,” which shows that the art has a broad popular base locally. Huangzhong pile embroidery mainly depicts Tibetan Buddhist subjects, using cutting, piling, and other techniques to build up images, and is mostly used in making thangka. The pile embroideries preserved in Kumbum Monastery in Huangzhong County are treasures of Tibetan Buddhist art and are acclaimed as one of the “three excellences” of Kumbum Monastery art. Huangzhong pile embroidery perfectly combines embroidery with the art of relief, showing delicacy within boldness and splendor within simplicity, presenting moving ethnic character and powerful artistic appeal. Representative repertoire, works and technical entries recorded for the project include: "One of the three wonders of Kumbum monastery": The silk appliqué kept at Kumbum monastery in Huangzhong is a treasure of Tibetan Buddhist art and one of the monastery's three wonders. "Cutting and stacking for thangka making": Devoted to Buddhist subjects, the craft shapes images by cutting and stacking, mainly for thangkas, uniting embroidery with relief. "Princess Wencheng and the westward spread of needlework": A fusion of Han and Tibetan culture, the craft traces back to Princess Wencheng, who carried Central Plains silk and embroidery into Tibet. "The second Gayya Khenpo and the revival of appliqué": Flourishing in the Jiajing era and declining in the late Qing, the art was revived in the early Republic when the second Gayya Khenpo promoted it among monks and lay craftsmen.
One of the three wonders of Kumbum monastery
The silk appliqué kept at Kumbum monastery in Huangzhong is a treasure of Tibetan Buddhist art and one of the monastery's three wonders.
Cutting and stacking for thangka making
Devoted to Buddhist subjects, the craft shapes images by cutting and stacking, mainly for thangkas, uniting embroidery with relief.
Princess Wencheng and the westward spread of needlework
A fusion of Han and Tibetan culture, the craft traces back to Princess Wencheng, who carried Central Plains silk and embroidery into Tibet.
The second Gayya Khenpo and the revival of appliqué
Flourishing in the Jiajing era and declining in the late Qing, the art was revived in the early Republic when the second Gayya Khenpo promoted it among monks and lay craftsmen.
03 · Transmission & Safeguarding Status
In 2025, Qiao Yingju was announced in the sixth batch of national representative bearers for Huangzhong Appliqué Embroidery, with Huangzhong, Qinghai as the declared area. Within the documented safeguarding record of Huangzhong Appliqué Embroidery in Huangzhong, Qinghai: The project was inscribed in the national inventory in 2008 (batch 2), with Huangzhong, Qinghai as its declared area, and Huangzhong County Cultural Center as its safeguarding unit. Since the project was inscribed in the national inventory, its declared area and safeguarding unit have carried out documentation, transmission and presentation within the national safeguarding framework. Together, the inventory record and the project archive form the public documentary basis for the bearer’s transmission practice.
04 · Associated Heritage Item Dossier
Historical origin
Huangzhong pile embroidery is a product of the fusion of Han and Tibetan cultures, its history traceable to the period when Princess Wencheng entered Tibet in the Tang dynasty. During the Jiajing reign of the Ming dynasty, Huangzhong pile embroidery entered its peak period; by the mid-to-late Qing dynasty it began to decline.
05 · Fellow National Bearers Lineage
National representative bearers recorded under the same item code, ordered from the first to the sixth batch. Batch order is not a teacher–student relationship.
| Bearer | Declared area | Roster code | Relation |
|---|---|---|---|
| Xu Quanxi | Huangzhong, Qinghai | 05-2683 | Same declared area |
| Qiao Yingju | Huangzhong, Qinghai | — | This page |
06 · Archival Sources & Bibliography
This static English edition is rendered at the edge for search engines, AI crawlers and readers without JavaScript. Compiled from official national representative bearer archival records and the associated project dossier, organized by topic and translated into English. 阅读中文版。