Features

 

Vivid colours and distinct contrasts:

 

Conventionally, the colours used for Cantonese embroidery are rich, vivid and strongly contrasting. They strive to render a lively and joyful atmosphere in an artwork. Gorgeous and elegant colours remain a distinctive feature of contemporary Cantonese embroidery.

 

 

 

Rich composition:

 

Among the traditional aesthetic values of China, “blank-leaving” (留白) is an important element. The purpose of a blank space can be to leave room for imagination and avoid distracting from the main subject of a painting. However, in Cantonese embroidery it is rarely applied. The art pieces have a rich composition and only a few blank spaces are left on the fabric.

 

 

 

Variety of materials:

 

In Cantonese embroidery, various materials, such as peacock feathers and horse hair, are used to make threads. Nowadays, Cantonese embroiderers also use sequins and plastic beads to produce Zhu embroidery (珠繡), a category of Cantonese embroidery.

 

 

 

Homophonic implication of auspiciousness:

 

Similar to Lingnan paintings, the subject matter of Cantonese embroidery usually implies auspicious meanings. For instance, embroiderers will sew three goats to symbolize an “auspicious beginning” (三陽開泰). “Three goats” is a homonym for “three suns” in Cantonese, which symbolize the start of spring.

 

 

 

Traditionally dominated by males:

 

Throughout history, most Canton embroidery was produced by men. Male embroiderers were called “Hua Lao” (花佬). They produced refined products for decorations, while most female embroiderers used to sew embroidery on daily necessities. In the Qing dynasty, the treatment and remuneration for “Hua Lao” were much better compared to female embroiderers. The organization of “Hua Lao”, for example, offered houses for retired “Hua Lao”.