A Hidden Oriental Jewel: 100% Chinese Hand-made Silk Embroidery

Introduction

Do you know what "silk embroidery is? Do you know what it looks like? Many people I come across in the U.S. are either unaware or unfamiliar with what silk embroidery is. Moreover, for the few who are familiar with this specialized Chinese skill, I have discovered that they do not have a true knowledge and appreciation for this fine Chinese art form. Thus, the implication can be made that "silk embroidery" is truly a "Hidden Oriental Jewel" that has been under appreciated in the West due mainly to the fact that the common person is ignorant of the time, effort, and skill required to create high-quality "silk embroidery" works. Hence, the purpose of this article will be to inform and educate you (whether the art lover or the common person) on: What is silk embroidery?, How it is made?, How to appreciate it?, etc. My hope is that you will acquire an appreciation for the uniqueness and value of this oft-overlooked Chinese art. Whether an art lover or not, I think you will come to appreciate the value of this "Hidden Oriental Jewel."

What is Silk Embroidery?

Silk embroidery is a type of Oriental wall art that results from the traditional Chinese skill of pulling fine strands of colored silk through a canvas to create a beautiful work of art. The most common way to enjoy silk embroidery is as a framed, wall-hanging object. Hence, it is ideal as a gift, collectible, home decoration, souvenir, or office piece. The art of skill embroidery originated in China and has been practiced there for over 3,800 years. It reached a high level early in the Qing and Han dynasties, with silk and silk embroidery being the main products transported along the ancient Chinese Silk Road.

China was one of the first countries to transform embroidery into an advanced art form. The use of special embroidery techniques and styles sets apart Chinese embroidery from embroidery created in other parts of the world. In the past, embroidery skills were considered to be an essential skill every woman was to possess. A woman who could create a high-quality embroidery piece was admired and well-respected. Women from rich families took on embroidery as a hobby while those from poor families did it for a living. Today, high-quality embroidery works are treated on the same level as the best Chinese paintings and Tang/Song Dynasty poems

How To Appreciate Silk Embroidery?

Whether you're an "art lover" or the "common person," you'll come to appreciate the value of silk embroidery once you learn of the skill and effort that goes into creating each piece. To create a high quality piece, an artist must split a single silk thread into several thinner threads. It can be split into 12 to 48 thinner strands - depending on how fine the artist wants to be with his/her piece. The embroiderer then stitches layer after layer using threads of a variety of colors to reach the final wonderful effect. Embroiderers are known to take frequent breaks - every 10 to 15 minutes - to rest their eyes due to the strenuous nature of their work.

Due to the labor-intensiveness of the work, some larger and more intricate pieces of embroidery may require a year to a year and a half to complete by an artist or group of artists. Those works sell for thousands of dollars, - which is reasonable - considering the skill and time involved in creating the work. Of course, smaller pieces are available that are of high quality yet sell for much less.

Four Types of Silk EmbroideryThe adoption of different needling methods through the years has resulted in four distinctive embroidery styles in China:

1) "Su" embroidery of Jiangsu Province - known for its delicacy and elegance, this style is usually very simple, highlighting 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. Su embroidery is where double-sided embroidery originated. Su embroidery products were sent to participate in the Panama World Fair in 1915.

2) "Xiang" embroidery of Hunan Province - became 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. This method uses loose colorful threads to embroider the pattern with the stitches being 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.

3) "Yue" embroidery of Guangdong Province - is 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.

4) "Shu" embroidery of Sichuan Province - 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.

Western-Style Silk Embroidery

Western-style silk embroidery occurs as the result of anartist using fine silk strands and needles to accuratelyreproduce famous Western-style oil paintings (see figure 2)- like Van Gogh and Da Vinci. It is truly amazing how anembroidery artist can literally take silk strands and createa silk reproduction of a well-known artist's oil painting.

Essentially, the artist paints with fine silk strands insteadof painting with oil. Think about it . . . does this not perhapsrequire more skill than painting with oil itself? Despite thedifference in materials and technique, one thing about asilk embroidery work is that - from a distance - it can verymuch resemble a work of oil painting .

From up close, however, one can notice the colorfulpatterns and detailed stitching in a silk embroidery work. In fact, the colors will appear more bright and lively thanthe usually duller colors of an oil painting.

Double-Sided Silk Embroidery

Double-sided silk embroidery is the result of an advanced embroidery technique in which the artist stitches on both sides of a single transparent silk canvas. The embroidered design displays on both the front and back sides of the fabric and does not show the joints in the stitching. Such a work is normally mounted as a screen on a wooden frame. A special feature about double-sided silk embroidery is that you can enjoy the artist's handiwork from either side of the picture.

How To Mount & Store Silk Embroidery

Mounting a piece of silk embroidery can be an art in and of itself.

Hard Mounting - is most suitable for small to medium-sized embroidery pieces. It involves mounting the piece on a wooden board or frame with a front protective glass. The mounting technique is relatively easy to master.

Soft Mounting - is most suitable for larger pieces. It involves mounting the embroidery piece on a large sheet of paper with a silk border. The mounting technique is very difficult to master. As a result, due to the nature of the mounting technique, a piece with soft mounting is more valuable.

Storing - be sure to wrap embroidery pieces in a container that protects it from moths. Also, embroidery should not be exposed to strong light - especially sunshine - for an extended period of time. Moreover, the environment should be neither too wet nor too dry.

Recommended Reading

1) Art of Oriental Embroidery: History, Aesthetics, &... by Young Yang Chung.

2) Painting with a Needle: Learning the Art of Silk Embroidery? by Young Yang Chung

This article was written by Raymond Yuen of Eternal Imports (EI). EI specializes in the provision of unique, hand-made, quality products from around the world. You may check them out at http://www.rejoiceinarts.com

A Defense Of Cultural Intelligence

When humans set off to address fundamental issues about what and how life is to be, two important questions exercise the conscience though a middle-ground question could arise from these two. One question is: 'how do we make humans the measure of all things for now and for things that are to come?' The other question is: 'how do we make nature the measure of all things for now and for things that are to come?'

The first question submits the direction of nature to the boundless will and self-determination of humans. The second question submits the drift of human development to the divine instructions of nature. The first question leads to an individualized culture - a state of affairs that lifts personal will and determination to the status of culture. The second question leads to a cooperative culture, the culture of sharing. These two different questions bring about the mystery in humans and dismiss the point that human nature is of a determinate form. Moreover, the questions are at the core of some of the confusion and conflict between two cultures, one largely individualized, and the other largely cooperative. Unresolved confusion and conflict could lead to war. A moderate position can be seen, which combines ingredients of both the first and second questions with the hope of generating a balance.

The present discussion will focus on the first question, that is, the question of an individualized culture.

Every living thing develops from one state to another in order to support the props of life. Humans, in particular, demonstrate this trait so clearly. Once we grow, both physically and mentally, development gets wedded to growth. Development is a more sophisticated human trait compared to growth. Generally, we regard growth as a change in size of a structure ? from a smaller to a larger structure; but development has to do with a progress to a new level of advancement of a structure, an advancement that shows that the structure in question has ? for better, not for worse - attained a glorious sophistication. Humans, therefore, develop to affirm this point.

It appears that since development is a natural necessity of every human, the collective human development is doubtless. Once we are all developing, life will be more sophisticated, advanced, better, cherished in all corners of the world. Moreover, any bestial instincts in humans will be progressively expunged and replaced by the rational instincts of peace and love. But the principle of development is not a fixed principle; it is varied within the context of an equally varied culture. In this sense, development ought to be viewed as culturally instructed. For this reason, any attack by one culture on another culture on the basis that the aggressor's culture is the best neglects the two important questions that exercise the conscience of humans, as stated above. The neglect indicates a surge in arrogance, and, perhaps, ignorance.

Development need not push aside the cultural paradigm and stress on the atomistic individual as the route to development. An individualized culture, meaning a culture that is projected in countless ways by the distinctive doings of every person, presupposes the mastery of one's self in any number of ways to face the challenges of life. By mastering the self, by advancing mental effort, the course of an individual's action is expected to be largely mind-dependent; emotional endeavour gets sidelined, so too the idea of sharing. The creative instincts of a person, his/her ability to coordinate a definite consequence, are chiefly judged to emanate from an antecedent mental reflection. Herein lies the notion of an individualized culture.

But in order to pursue wants, in order to live according to personal tastes, individual minds have to deliberate differently. And since individual wants are very different from one another, it stands to reason that an individualized culture is undefined in content. Whatever pleases the self, the ego, much as it doesn't conflict with other individuals' mind-determined pursuits, is good for contributing towards the individualized culture. An individualized culture is full of self-determination though it is also full of confrontations with nature.

If to advance in life means a kind of mental reflection that enables one to attain a high level of personal development, then the secrets of nature, in whichever way it is humanly understood, have to submit to humans' will. The difficulty in this lifestyle is that it does not limit the cognitive ability of humans face-to-face with nature. It prompts mental ingenuity to overrule the acts of nature. The search for the secrets of nature becomes a restless ambition. Morality, social responsibility, are judged within the scope of self-determination, not the mystic workings of nature.

What may have eluded the conscience is that nature is there for all time; and cognitive ability ? or to use the more popular word, intelligence ? has many faces to it. An obvious failing of the theses of intelligence inheres in the application of psychometry to judge a person's level of intelligence. Psychometry insults the moral and spiritual basis of intelligence within either an individualized or a cooperative culture. Psychometry presumes that humans are encased in a mental powerhouse, a powerhouse that can be statistically measured, a powerhouse that is personal, that is a biological privilege; yet psychometry fails to reckon the gracious alliance that ought to exist between a person and the natural environment.

John is privileged in mental acumen because his biological structure has the advanced features that, by necessity, yield a high intelligence quotient (IQ), proponents of psychometric intelligence are prepared to argue. To see the immediate flaw in this contention, one has to understand that even with the genuine requirements of an individualized culture, self-determination, the will to conquer the secrets of nature, could take any number of ways in connection with any constructive direction that the mind commissions the agent in question. Should my mind direct me to engage in competitive sports and excel in this area instead of engaging in complex mathematical computations or logical analysis, then I am professing intelligence within the limits of an individualized culture. Am I, for goodness sake, expected to prove my intellectual insight by subscribing to the bogus tenets of psychometry? A similar argument can be advanced to explain the spirited intellectual pursuits of an agent in the area of science, the arts, any kind of entertainment, or any kind of morally right pursuit. One needs to respect and admit all such pursuits, and, thus, rid intelligence of any bias, any narrow definitions.

The theses of intelligence ? and worse still, the theses of intelligence quotient ? are inauspicious endeavours; for they provoke suspicions about the motives of their proponents. On the basis that few selected parameters - such as math, logic, subjective aptitude tests ? are used to appraise a person's intelligence, one is bound to conclude that IQ fouls a morally grounded and socially responsible culture, whether the culture in question is an individualized culture or a cooperative culture. Nevertheless, a culture built on the question of IQ may not be that bad should IQ incorporate any element of human action, mental or physical, that bears marks of creativity in any way. Also, the question of an individualized culture or a cooperative culture takes account of the natural environment though in varying measures. And this will explain that intelligence seeks to adapt to the natural environment whenever changes in the latter occur.

My meaning of cultural intelligence should, by now, be clear. Cultural intelligence seeks to avoid many of the pitfalls of IQ. The turn of intelligence for the better ? which is a given ? needs the unbroken service of the natural environment. Intelligence, thereby, becomes dynamic, a practical thing that conforms to cultural constructions. Intelligence quotient, or variations of it, is an unduly technical doctrine that hoists a dominant academic culture on numerous facets of life. An intelligence that obeys the doctrine of IQ forces itself to evolve largely in abstractions without a kindred connection with the natural environment. The agent becomes progressively technical, dry in social networks, full of machine traits. Whatever culture humans have happened to situate themselves has evolved the blessings of intelligence. To respect this point is in keeping with human decency.

About The Author

Mr. Ainsah-Mensah has worked in various capacities mostly in Canada and now in China. He is an education consultant, race relations consultant, projects coordinator, writer, post secondary instructor in business courses and life skills, and critical thinking. He is currently the principal of Handan-Lilac Education Group in China.

kamch22@yahoo.ca

10 Feng Shui Tips For A Better Life

Ever walked into a house that felt like home? Ever reminisced about the best year of your life, and wondered why everything came together for you? It could be Feng Shui.

Simply put, Feng Shui is about creating a harmonious environment. It's the ancient Chinese Science and Art of placement, intended to improve our health, harmony, longevity, career and wealth.

Pronounced, "Fung Shway", it was a jealously guarded secret for thousands of years. Now, the benefits of Feng Shui can be enjoyed by anyone. In fact, Feng Shui is a part of everyday life for many Australian businesses, home owners, decorators, and architects.

June from June Turner Designs and Lifestyles has been an expert Feng Shui practitioner for 13 years. "Feng Shui can be simple or involved ? whatever you're comfortable with. Decorate a room or buy a home that is perfect for your family."

The key is energy (or Qi "Chee"). June offers ten quick tips that can improve the flow, transformation, and containment of Qi in your life:

1) Remove shoes before entering a home. Don't take your problems in with you.

2) Cook at least one meal a day and eat at the table as a family.

3) Never have knives on show ? even in a block.

4) Always sit or stand facing the door (or its reflection).

5) Keep the toilet lid down and bathroom and laundry doors closed.

6) Don't sleep under white blankets or doonas.

7) Don't sleep with your feet facing the bedroom door.

8) Don't sleep next to the wall that has the metre box on it.

9) If your front door is in line with a tree or the door of the house opposite, place a Ba Gua mirror above the outside of the door.

10) Never have a Ba Gua mirror in the house. They are far too powerful.

It's no coincidence that some of these tips are just common sense. You've probably been practising Feng Shui for years without even knowing it!

According to June, "this is just the tip of the iceberg. Just a few little changes can make the world of difference. But most solutions are specific to the individual."

For more information, contact June Turner Designs and Lifestyles on Sydney (02)43992018.

About The Author

* Glenn Murray is an SEO copywriter and Article Submission Specialist. He is a director of PublishHub and also of copywriting studio Divine Write. He can be contacted on Sydney +612 4334 6222 or at glenn@divinewrite.com. Visit http://www.divinewrite.com or http://www.publishhub.com for further details, more FREE articles, or to purchase his e-book, 'SEO Secrets'.