Tiaohua
01 · Historical Records
The documented lineage of transmission began in the Guangxu reign period of the Qing Dynasty.
02 · Core Techniques & Process
Wuxi Jiahua (bridal embroidery) is a traditional embroidery technique circulating in Wuxi County, Chongqing, and radiating to the Chongqing, Shaanxi and Hubei regions. Historically, girls in Wuxi began cross-stitch work at the age of eleven or twelve, and the pieces they stitched were their own future dowries. Wuxi Jiahua therefore reflects local young women's understanding of society, incorporates their visions of the future, and is full of imagination and unconstrained expression, demonstrating extremely strong creativity. Wuxi Jiahua takes all things in the world and the myriad states of human life as its subjects. Its materials are plain and unadorned: the main materials are plain cloth, gauze and colored thread, though cotton, linen, silk and satin may also be used. Compared with other traditional embroidery, its creative method is relatively simple; it inherits traditional techniques, and when stitching it requires "curves and straight lines together, following the weave of the cloth, needles placed squarely, and the first and last stitches restrained." The main stitch of Wuxi Jiahua is to count the threads of the plain cloth and catch the stitch through the weave, appearing as a chain stitch on the front and a catch stitch on the back; a loop hole is left when stitching begins, and at the end a backstitch is used to close it, so that the whole piece has no thread knots. The balance of yin and yang is the eternal theme of cross-stitch creation; the stitching emphasizes yin and yang stitching, male and female following one another, and a single continuous stitch to the end. Compared with other embroidery, Wuxi Jiahua has a distinctive feature: every bridal embroidery piece must leave a stitch — it cannot be stitched to completion — symbolizing that "fullness invites loss." Wuxi Jiahua has a strong regional cultural character: its creative method is plain, its patterns direct and visual, and its pieces are sturdy and durable, withstanding repeated washing without coming apart or losing stitches, combining both practicality and decoration.
Picking through the mesh of the cloth
The chief method hooks and picks along the mesh of plain cloth, following the threads, with the needle placed neither off-course nor uneven.
Braid on the front, hook on the back
The front shows braid stitch and the back hook stitch, begun with a loop left and closed with a back stitch, so the whole piece carries no knots and survives repeated washing.
Leaving a stitch undone
Unlike other embroideries, every Wuxi bridal piece deliberately leaves a stitch unfinished, signifying that fullness invites loss.
Round bridal flowers and hanging bridal flowers
Its patterns divide into the practical, called round bridal flowers and relatively abstract, and the decorative, called hanging bridal flowers, brilliant in colour and complex in thread.
Balance of yin and yang
Balance of yin and yang governs the work, stitched yin and yang, male and female in step, one thread to the end; materials are plain—plain cloth, gauze, coloured thread, cotton, hemp, silk or satin.
A lineage traced to the Guangxu era
Its documented lineage begins in the Guangxu reign; because Wuxi was vast and thinly peopled, the craft was taught within households and blended with Tujia, Han and Chu cultures.
03 · Regional Records & Related Items
It has a long history; in the course of its development it has merged with the cultures and customs of the Tujia, Han and Chu peoples, forming a distinctive school and system. Its patterns are divided into two types, practical and decorative. The practical patterns are also called "jiatuantuanhua" (round bridal flowers) and are relatively abstract; the decorative patterns are commonly known as "jiafufuhua" (panel bridal flowers), with gorgeous colors and complex thread systems. Wuxi Jiahua fully expresses the distinctive regional culture and folk customs of the Ba region, recording the local conditions and customs, living habits, religious beliefs, folk stories, myths and legends of Wuxi and its surrounding areas, as well as the knowledge and imagination of the people in their labor and daily life. It expresses the simple yet extraordinary creativity formed by working people over thousands of years, and is a remarkable flower in the splendid culture of the nation. Its works are beautiful, durable and plain, with a strong regional cultural character. It has played a positive role in solving local employment and promoting the sustainable development of the social economy.
Other submitting regions for the same item: Tiaohua · Tiaohua · Tiaohua · Tiaohua · Tiaohua.
04 · Cultural Value & Contemporary Safeguarding
Historically, because Wuxi was sparsely populated over a vast area, Wuxi Jiahua was passed down and practiced essentially within individual households.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Shi Jiumei 01-0085
- Fengxuemei 01-0086
- Wang Shifu 05-2604
- Yang Chunying 05-2605
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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