stone carvings of almond pip

It has ivory and offwhite color, just like almond pip with exquisite texture, burliness, opacity, soft sense and easy to carve. It is fully the top seal material.s

Tianbai stone

Tianbai stone, pure and noble with the striking red inside is produced from Shangban area, and now becomes extinct. Gold wrapping silver, like a mess of suet with a layer fresh yellow skin, which becomes the bright contrast between the skin and pulp is fully the top grade in the Tianbai stones; yellow color of the chicken grease,with the close and stable texture which looks greasy and wet and a layer skin like the chicken grease on the surface is produced neighboring of the Shangban and Zhongban area; yellow color of the orange pericarp, with the showy texture which the reddish yellow and purity material is produced from Zhongban area; Black skin Tian, another name is "crow skin" with the texture of sweet-scented osmanthus,and the skin color as black as carbon, which is used to carve the works, also the ourwarding black and the inside yellow becomes the contrast.

Shoushan Tianhuang stone

Tianhuang stone, with the title of king of stones is treasure of Shoushan stone department. Look at it carefully, you can find its beautiful color with close texture. Since the Ming and Qing dynasty, Tianhuang stone has been also called "the king of the stamp stones". Millions of years later, it is still the excellent collection among the fans, which Chinese often said,"it is easy to get the gold,but it is really difficult for the Tianhuang. There are several sorts of the more costful Tianhuang stones, including the Tianhuang jellied stone which is the top grade with whole clear and transparence, like the frozen honey, extremely lenitive; the other is the silver wrapping the gold,like the fresh egg with wipped-off putamina with the outward tiny skin, bright and smooth.

chinese Stone Carvings

The Chinese stone carving consists of various kinds, it is difficult for us to introduce all kind of works in this brief introduction. The four significant kinds of stone carvings which are prominent in the Chinese stone craving history, are the following: QinTian stone carving, ShouShan stone carving, ChangHua stone craving and BaLing stone carving. Apropos of the natural stone carving is more intricate, no one can accurately calculate how many kinds of nature stones are out there. Furthermore, each individual's viewpoint of beauty is different we can only introduce merely the facture's knowledge which could help you to make the right choice when facing the work of Chinese stone craving.

Stone carving is one brilliant page in Chinese cultural and civilization history. Due to nature's inconceivable works and mankind craftmanship our predecessor had left behind for us the historical seal, which enhance the appreciation, admiration and sensation that follow the locus of beauty.

Qing A CARVED IVORY BOTTLE

A CARVED IVORY BOTTLE
Qing Dynasty
9.7cm

STORY OF EMBROIDERY

Along the Chinese history, it has been once called "zao", "needle embroidery", "patterned embroidery" and is generally called "embroidering patterns." For it is made by women, it is also called "woman's needlework." As recorded in the Book of Shan, the garments donned by ancient kings and emperors are manually embroidered. Since the Han Dynasty the embroidering skill has been greatly improved with a large variety of embroidery methods. The calligraphy and drawing can be embroidered since the Tang and Song Dynasties. chinese art,The embroidery is widely employed in making clothing, tobacco bag, extra pocket, perfume bag, pillow ship cushion, hat, shoes, screen and tapestry, etc. The embroidery is also applied to making cloth portraits of gods and spirits, the curtain for Buddha sculptures in temples and the stage costumes.

5 Famous Chinese Embroidery Styles

Embroidery is a traditional Chinese craft which consists of pulling colored threads through a background material with embroidery needles to stitch colored patterns that have been previously designed on the ground. The adoption of different needling methods resulted in different embroidery styles and technique schools. Chinese embroidery had already reached a high level early in the Qin and Han dynasties, and silk and embroidery were the main products transported along the ancient Chinese Silk Road. The four famous Chinese embroidery styles are the Su embroidery of Jiangsu Province, the Xiang embroidery of Hunan Province, the Yue embroidery of Guangdong Province and the Shu embroidery of Sichuan Province.

Su embroidery has a history of over 2000 years. It was produced on a large scale during the Song Dynasty. In the late Ming Dynasty and early Qing Dynasty, Shen Shou absorbed Japanese and Western fine art sand combined them with traditional Chinese embroidery skills to create the simulated embroidery with ray effects. In the 1930s, the irregular embroidery technique was created in the Zhengze Girl's Vocationa1 School in Danyang. In 1957, the Embroidery Research Institute was established in Suzhou.

Su embroidery is known for its delicacy and elegance. The design is usually very simple, high lighting a main theme. Its stitching is smooth, dense, thin, neat, even, delicate and harmonious. The thin thread is divided into up to 48 strands that are barely visible to the naked eye. Double-sided embroidery has the same pattern on both sides and uses the same embroidering method that does not show the joins in the stitches. Su embroidery products were sent to participate in the Panama World Fair in 1915. Since then, the style has become increasingly famous throughout the world.



Xiang embroidery was initiated in the Chu Kingdom of the Warring States Period. It had become the main craft in places around Changsha, capital city of Hunan Province, in the Qing Dynasty Xiang embroidery was developed from Hunan folk embroidery methods, but it also drew on the skills of Su embroidery and Yue embroidery. Xiang embroidery products use loose colorful threads to embroider the pattern and the stitches are not as neat as those of other embroidery styles. The various colored threads are mixed together, showing a gradual change in color with a rich and harmonious tone.
Designs on Xiang embroidery mostly derive from traditional Chinese paintings of landscapes, human figures, flowers, birds and animals. The most common designs on Xiang embroidery are lions and tigers. The tigers appear strong and bold, revealing their power and menace as a king of animals. Xiang embroidery won the best award in the Torino World Fair in Italy in 1912 and the First Award in the Panama World Fair in 1933. Xiang embroidery is known abroad as the ideal embroidery.



Yue embroidery was entirely developed in the Tang Dynasty Ancient Chinese craftsmen used peacock feathers twisted together as the embroidering thread to stitch the ornamental designs; horsetail was used to stitch the outline to make the work more expressive. The designs of Yue embroidery are rich and complicated in content with bright colors and strong decorative effects. The embroidery is smooth and even. One type, gold and silver cushion embroidery, creates a magnificent three-dimensional effect Yue embroidery has a wide range of designs, the most common ones being birds worshipping the sun, dragons and phoenixes. Yue embroidery includes the Guang and Chao branches which have different stitching styles.



Shu embroidery products are mostly found in Chengdu, the capital city of Sichuan Province. They are made with soft satins and colored threads as the raw materials are embroidered by hand. The varied stitching methods form their unique local style' Designs on Shu embroidery include flowers, birds, landscapes, fish, worms and human figures. The products themselves include quilt covers, pillow covers, back cushions, table cloths, scarves and handkerchiefs.

Besides the four major embroidery styles, there are Ou embroidery of Wenzhou, Zhejiang Province, Bian embroidery of Kaifeng, Henan Province, and the Han embroidery of Wuhan, Hubei Province.

Major styles of Chinese embroidery

Su Xiu (苏绣) — Suzhou embroidery is crafted in areas around Suzhou, Jiangsu Province. It is famous for its beautiful patterns, elegant colors, variety of stitches, and consummate craftsmanship. Its stitching is meticulously skillful, coloration subtle and refined.
Xiang Xiu (湘绣) — Hunan embroidery comes from areas around Changsha, Hunan Province. It is distinct for its starkly elegant black, white and gray coloration. Its emphasis is on contrasts of light and shade that highlight the pattern texture to give a three-dimensional effect. Xiang embroidery composition combines void and solid imagery, utilizing empty space in the same way as Chinese ink and wash paintings.
Yue Xiu/Guang Xiu (粤绣/广秀) — Guangdong embroidery is crafted in Chaozhou, Guandong Province. It is composed of intricate but symmetrical patterns, vibrant colors, varied stitches and a defined weave. Its use of primary colors, light and shade are reminiscent of western paintings.
Shu Xiu (蜀绣) — Sichuan embroidery comes from areas around Chengdu, Sichuan Province. It is oldest known embroidery style in Chinese embroidery history. Its raw materials are satin and colored silk, its craftsmanship painstaking and refined. The emphasis is on even stitching, delicate coloration, and local flavor. Sichuan embroidery is used to decorate quilt covers, pillowcases, garments, shoes and painted screens.
Other styles
Gu Xiu (顾绣) — Gu embroidery is rather a family style than a local style originated from Gu Mingshi's family during the Ming Dynasty in Shanghai. Gu embroidery is also named Lu Xiang Yuan embroidery after the place where the Gu family lived. Gu embroidery ss different from other styles as it specialized in painting and calligraphy. The inventor of Gu embroidery was a concubine of Gu Mingshi's first son, Gu Huihai. Later, Han Ximeng, the wife of the second grandson of Gu Mingshi developed the skill and was reputed as "Needle Saint" (针圣). Some of her masterpieces are kept in the Forbidden City. Today Gu embroidery has become a special local product in Shanghai.

Chinese embroidery History

Chinese embroidery has a long history since Neolithic age. Because of the quality of silk fiber, most Chinese fine embroideries are made in silk. Some ancient vestiges of silk production have been found in various Neolithic sites dating back 5000~6000 years in China. A piece of silk fabric was found on a 3000 years old mummy in Egypt, which has been testified as old Sichuan embroidery. From the archaeological discovery at Sanxingdui, we can be sure ancient Shu people had already mastered the silkworm domestication and silk production. Currently the earliest real sample of silk embroidery discovered in China is from a tomb in Mashan in Hubei province identified with the Zhanguo period (5th-3rd centuries BC). After the opening of Silk Route in Han Dynasty, the silk production and trade became flourishing. In 14th century, the Chinese silk embroidery production reached its high peak. Several major silk embroidery styles had been developed, like Song Jin (宋锦 Song embroidery) in Suzhou, Yun Jin (云锦 Cloud embroidery) in Nanjing and Shu Jin (蜀锦 Shu embroidery) in Sichuan. Today most handwork had been replaced by machinery, but some very sophisticated production are still hand-made. The modern Chinese silk embroidery still prevails in southern China.

art Embroidery

China is the first country in the world that discovered the use of silk. Silkworms were domesticated as early as 5000 years ago. The production of silk thread and fabrics gave rise to the art of embroidery. Historical documents record the use of embroidery in China as early as 2255 B.C. Archaeological finds, however, place the beginnings of embroidery at some point during the Shang dynasty(1766B.C.-1122 B.C.)

The Embroidery art became widespread in the Han dynasty (206 B.C.-221A.D.) because of its economic prosperity. Because the number of rich and privileged people increased, the demand for Embroidery is strongly needed. With a strong supply of raw materials and robust market demand, embroidery flourished.

Embroidery was used for more than just decorating clothes or other purpose. Chinese Buddhists chose embroidery, which was a symbol of honor and diligence, as their favorite media for portraying Buddhist imagery. Large in size and scope, the colossal works of "Buddhists embroidery" were in great demand during the Tang dynasty (618-907 A.D.)

In the Tang dynasty, Embroidery art had risen to another level- the development of new embroidery stitches. Prior to the Tang dynasty, the chain stitch was the only way commonly used in embroidery. In the Tang, the satin stitch was invented and replaced the chain stitch. The satin stitch has been popular with embroiderers ever since because different stitching styles and new artful patterns are created.

In the Sung dynasty (960-1280), the Embroidery art was even more successful than before. First, the satin stitch was permutable and many other new stitches were derived from it. Second, tools and materials used in embroidery were greatly improved during the Sung dynasty. Third, the art of embroidery completely merged with the art of painting. Embroiderers would actually stitch duplicates of paintings by noted painters.

Ming (1368-1644) embroidery has three major distinctive features. First, embroidery was very popular and was used extensively by people of different social classes for a wide variety of purposes. Second, the quality of embroidery for practical uses was greatly improved as embroidery materials were refined and embroidering techniques matured. Third, embroiderers used materials other than silk such as hair embroidery, flannel embroidery, lace embroidery and gold embroidery.

Embroidery has maintained and flourished throughout the twenty century.

Today, silk embroidery is practiced all over China. The best commercial product comes from four provinces: Jiangsu, Hunan, Sichuan and Guangdong. Moreover, embroidery combines the essence of painting and calligraphy and presents traditional Chinese culture through the colorful threads of the skilled embroiderer.

Embroidery of little Ethnic Groups

Among ethnic groups, Bai , Bouyei and Miao people are also adept at embroidery. Their embroidery uses sharp contrast of color and primitive design to express a mysterious flavor while embroidered Thangka by Tibetans shows their passion in religion.

Bian Embroidery and Han Embroidery Facing Extinction

Bian Embroidery was regarded as a National Treasure during the Northern Song Dynasty. Bian refers to the capital of the Northern Song Dynasty, Bianliang, today's Kaifeng. Bian Embroidery was mainly used by the royal family so it was also known as Court Embroidery or Official Embroidery. The style was exquisite, precise and elegant to match the demeanor of the royal family. However, with the collapse of the dynasty, Bian Embroidery collapsed, too.

Han Embroidery originated from Chu (Hubei Province) and flew to Wuhan from Jingzhou and Shashi. Tinted by the Chu Culture, Han Embroidery is characterized by a rich and gaudy color with bold patterns and exaggerated techniques. Han Embroidery came to its heyday in the middle and later Qing Dynasty and obtained golden medals in international expos and competitions. Embroidery Street was formed in Daxing Road, Hankou, with nearly 40 workshops engaged in it. Bombing by the American planes of a Japanese magazine nearby destroyed the street as weavers fled.

Others Embroidery

Gu Embroidery distinguishes itself from other local styles by the fact it originated from Gu Mingshi's family during the Ming Dynasty in Shanghai , instead of from a certain place. Gu Embroidery is also known as Lu Xiang Yuan Embroidery. Lu Xiang Yuan, Dew Fragrance Garden in Chinese, was where the Gu Family lived. From the start, Gu Embroidery was different from other styles as it specialized in painting and calligraphy. The inventor of Gu Embroidery was a concubine of Gu Mingshi's first son, Gu Huihai. Later, Han Ximeng, the wife of the second grandson of Gu Mingshi developed the skill and was reputed as "Saint Needle". Some of her masterpieces are kept in the Forbidden City.Today Gu Embroidery has become a special local product in Shanghai.

Yue Embroidery

Yue Embroidery, which encompasses Guangzhou Embroidery and Chaozhou Embroidery, has the same origin as Li Brocade. People generally agree that Yue Embroidery started from Tang Dynasty since Lu Meiniang, who embroidered seven chapters of Buddhist sutra, was from Guangdong. Portrait and flowers and birds are the most popular themes of Yue Embroidery as the subtropical climate favors the area with abundant these plants that are rarely seen in central China. In addition, Yue Embroidery uses rich colors for strong contrast and a magnificent and bustling effect.

Since Cantonese take to fortunes in an almost superstitious attitude, attaching a lucky implication to everything, red and green, and auspicious patterns are widely used. The most famous piece of Yue style embroidery is hundreds of Birds Worshiping Phoenix. Fish, lobsters, bergamots and lychee are also common patterns.

Xiang Embroidery

Xiang Embroidery, an art from Hunan, was a witness of the ancient Xiang (Hunan) and Chu (Hubei) culture. Xiang Embroidery was a gift to the royal family during the Spring and Autumn Period. The most persuasive evidence of Xiang Embroidery is the articles unearthed in Mawangdui Han Tomb.

Developing over two thousands years, Xiang Embroidery became a special branch of the local art. Xiang Embroidery gained popularity day by day. Besides the common topics seen in other styles of embroidery, Xiang Embroidery absorbed elements from calligraphy, painting and inscription.

The uniqueness of Xiang Embroidery is that it is patterned after a painting draft, but is not limited by it. Perhaps because of this technique, in Xiang Embroidery, a flower seems to send off fragrance, a bird seems to sing, a tiger seems to run, and a person seems to breathe.

Shu Embroidery

Originated from Shu, the short name for Sichuan , Shu Embroidery, influenced by its geographic environment and local customs, is characterized by a refined and brisk style. The earliest record of Shu Embroidery was during the Western Han Dynasty. At that time, embroidery was a luxury enjoyed only by the royal family and was strictly controlled by the government. During the Han Dynasty and the Three Kingdoms, Shu Embroidery and Shu Brocade were exchanged for horses and used to settle debts.

In the Qing Dynasty, Shu Embroidery entered the market and an industry was formed. Workshops and governmental bureaus were fully devoted to Shu Embroidery, promoting the development of the industry. Shu Embroidery became more elegant and covered a wider range. From the paintings by masters, to patterns by designers, to landscape, flowers and birds, dragons and phoenix, tiles and ancient coins, it seemed all could be the topic of embroidery. Folk stories like the Eight Immortals Crossing the Sea, Kylin presenting a Son and other auspicious patterns such as magpie on plum and mandarin ducks playing on the water were also favorite topics. Patterns with strong local features were very popular among foreigners at that time. These local features included lotus and carp, bamboo forest and pandas. Some bought embroidered skirts and used them as curtains!

Su Embroidery

Su is the short name for Suzhou. A typical southern water town, Suzhou and everything from it reflects tranquility, refinement, and elegance. So does Su Embroidery. Embroidery with fish on one side and kitty on the other side is a representative of this style.

Favored with the advantaged climate, Suzhou with its surrounding areas is suitable for raising silk and planting mulberry trees. As early as the Song Dynasty, Su Embroidery was already well known for its elegance and vividness. In the Ming Dynasty, influenced by the Wu School of painting, Su Embroidery began to rival painting and calligraphy in its artistry.

The above mentioned wife of Sun Quan, King of Wu of the Three Kingdoms and Shen Shou of Qing Dynasty were both embroidery masters from this area.

In history, Su Embroidery dominated the royal wardrobe and walls. Even today, Su Embroidery occupies a large share of the embroidery market in China as well as in the world.

Development of Chinese Embroidery

Embroidery is a brilliant pearl in Chinese art. From the magnificent Dragon Robe worn by Emperors to the popular embroidery seen in today's fashions, embroidery adds so much pleasure to our life and our culture.
The oldest embroidered product in China on record dates from the Shang Dynasty. Embroidery in this period symbolized social status. It was not until later on, as the national economy developed, that embroidery entered the lives of the common people.

Through progress over Zhou Dynasty, the Han Dynasty witnessed a leap in embroidery in both technique and art style. Court embroidery was set and specialization came into being. The patterns of embroidery covered a larger range, from sun, moon, stars, mountains, dragons, and phoenix to tiger, flower and grass, clouds and geometric patterns. Auspicious words were also fashionable. Both historic records and products of the time proved this. According to the records, all the women in the capital of Qi (today's Linzi, Shandong) were able to embroider, even the stupid were adept at it! They saw and practiced it everyday so naturally they became good at it. The royal family and aristocrats had everything covered with embroidery-even their rooms were decorated with so much embroidery that the walls could not be seen! Embroidery flooded their homes, from mattresses to beddings, from clothes worn in life time to burial articles.

The authentic embroideries found in Mawangdui Han Tomb are best evidence of this unprecedented proliferation of embroidery. Meanwhile, unearthed embroideries from Mogao Caves in Dunhuang , the Astana-Karakhoja Ancient Tombs in Turpan and northern Inner Mongolia further strengthen this observation.

During the following Three Kingdoms Period, one notable figure in the development of embroidery was the wife of Sun Quan, King of Wu. She was also the first female painter recorded in Chinese painting history. She was good at calligraphy, painting and embroidery. Sun Quan wanted a map of China and she drew one for him and even presented him embroidered map of China. She was reputed as the Master of Weaving, Needle and Silk. Portraits also appeared on embroidery during this time.

As Buddhism boomed in China during the Wei, Jin, Sui and Tang Dynasties, embroidery was widely used to show honor to Buddha statues. Lu Meiniang, a court maiden in the Tang Dynasty, embroidered seven chapters of Buddhist sutra on a tiny piece of silk! New skill in stitching emerged during this period. Besides Buddhist figures, the subjects of Chinese painting such as mountains, waters, flowers, birds, pavilions and people all became themes of embroidery, making it into a unique art.

The Song Dynasty saw a peak of development of embroidery in both quantity and quality. Embroidery developed into an art by combining calligraphy and painting. New tools and skills were invented. The Wenxiu Department was in charge of embroidery in the Song court. During the reign of Emperor Hui Zong, they divided embroidery into four categories: mountains and waters, pavilions, people, and flower and birds. During this period, the art of embroidery came to its zenith and reputed workers popped up. Even intellects joined this activity, and embroidery was divided into two functions: art for daily use and art for art's sake.

The religious touch of embroidery was strengthened by the rulers of Yuan Dynasty who believed in Lamaism. Embroidery was much more applied in Buddha statues, sutras and prayer flags. One product of this time is kept in Potala Palace.

As the sprout of capitalism emerged in Ming Dynasty, Chinese society saw a substantial flourish in many industries. Embroidery showed new features, too. Traditional auspicious patterns were widely used to symbolize popular themes: Mandarin ducks for love; pomegranates for fertility; pines, bamboos and plums for integrity; peonies for riches and honor; and cranes for longevity. The famous Gu Embroidery is typical of this time.

The Qing Dynasty inherited the features of the Ming Dynasty and absorbed new ingredients from Japanese embroidery and even Western art. New materials such as gilded cobber and silvery threads emerged. According to The Dream of the Red Chamber, a popular Chinese novel set during the Qing Dynasty, peacock feathers were also used. Notably, the first book on embroidery technique theory was dictated by Shen Shou and recorded by Zhang Jian.

The first book of Chinese embroidery technique was dictated by an accomplished embroiderer, Shen Shou and recorded by Zhang Jian. Shen's original name was Xue Jun with Xue Huan as her alias. Shou was bestowed by Empress Dowager Cixi when she presented the Empress with the embroidered tapestry, Eight Immortals Celebrating Birthday. In 1911 she presented an embroidered portrait to the Italian Empress as a national gift. In 1915 her embroidery of the portrait of Jesus won the first award at the Panama Expo. Shen excelled in embroidery and devoted herself to teaching and training.

Zhang Jian was an outstanding industrialist in modern Chinese history. He set up one of the earliest textile factories, the first normal school, the first textile school and the first museum. He was passionate in art and culture; therefore, when he knew about Shen, he decided that her master skill must be preserved. Since Shen suffered from poor health and spent most her time in bed, Zhang volunteered to record every word. Thus, the cooperation between an old man of 60 and a lady in her 40s led to the birth of Xue Huan Xiu Pu (Embroidery Book by Xue Huan) in 1918. This anecdote should be very beautiful, especially in China, few men would humble themselves to act as a secretary for women. Because of their dedication, the world has valuable data about Chinese embroidery.

The Chinese word for embroidery is xiu, a picture or embroidery of five colors. It implies beautiful and magnificent. For example, the Chinese name for 'Splendid China' in Shenzhen, Guangdong was Jin Xiu Zhonghua. 'Jin' is brocade; 'Xiu' is embroidery; 'Zhonghua' is China. 'Xiu' is also a part of phrases such as xiu lou (embroidery building) and xiu qiu (embroidered ball). Embroidery was an elegant task for fair ladies who were forbidden to go out of their home. Embroidery was a good pastime to which they might devote their intelligence and passion. Imagine a beautiful young lady embroidering a dainty pouch. Stitch by stitch, she embroiders a pair of love birds for her lover. It's a cold winter day and the room is filled with the aroma of incense. What a touching and beautiful picture!

Chinese Embroidery

Embroidery is a very long established art form in China. It was never classified as a solely female activity and men and women have both been involved in embroidery. The items embroidered are quite diverse and include robes, theatrical costumes, purses, shoes, spectacle cases, banners, alter cloths and many other pieces. Some of the pieces were so finely stitched that the pieces took 5-6 people several years to complete. Embroidery was also used as a means of decorating silk clothing and for silk flags and banners as a means of denoting rank or station. The finest pieces of work were very expensive. Gradually, embroidery developed, as a pastime for wealthy ladies and many members of the court were renowned for their intricate work.
According to the Chinese there are two main divisions of embroidery, “chih wen” and “tuan chen”. “Chih wen” uses the long and short stitch, while “tuan chen” involves the seed stitch used in Beijing which is also known as the French knot. The stitches most commonly used by the Chinese include 1) satin stitch – which is further classified into long and short 2) Beijing stitch or French knot 3) Stem stitch; 4) Couching; 5) Chain stitch; and 6) Split stitch. All of these stitches are known in the west. Many westerners find Chinese embroidery a little over done. The Chinese satin stitch when done to perfection is exquisite in its fine detail. The use of gold thread for the French knot, for which the Chinese have a special gift, is characteristic of their work. Sometimes even such light material as gauze and paper were embroidered to demonstrate the fineness of the work.

It is difficult to be precise as to when embroidery first was practiced in China but based on archeological excavations of tombs it at least dates back to the early Han dynasty which based itself near Lake Baikal in the early second century B.C. Many Tang embroideries continue to be preserved both in China and in Japan. One of the most famous representations of the embroiders’ artistry is the piece that came from the Thousand Buddhas at Tun Huang and that dates from the tenth Century.
There are also many fine pieces of embroidery from the Sung dynasty. We know from historical records that the Sung Emperor Hui Tsung (1101-1126) established an embroidery bureau called the “Wen Hsiu Yuan”. It also is well known that many of the finest pieces were copied in the Ming and Ching period and it is therefore difficult to definitely attribute many of these pieces.
Chinese Literature records the names of many famous embroidery artists. Among these are Kuan Fu-jen, the wife of the painter Chao Meng-fu and the ladies of the Ku family in Shanghai such as Ku Shou-ch’ien who worked their artistry in Ming times. The painters Tung ch’i-ch’ang and Wen Cheng-ming and more recently Sh’en Chou who died in 1910 are all considered great embroiders.

Embroidery is still practiced in many sections of China. Suzhou is well known for the quality of its work. Additionally other areas have a reputation for embroidery but few can match the precision, art and charm of the work produced in China prior to the Modern period.