Cheongsam Boutique - Chinese Qipao, Cheongsam Dress, Kungfu Suit

Han Chinese clothing

2008-07-21T23:50:00.000-07:00

Han Chinese clothing or Hanfu (traditional Chinese: 漢服; simplified Chinese: 汉服; pinyin: hànfú; Wade-Giles: hanfu), also known as Hanzhuang (漢裝), Huafu (華服), or guzhuang (古裝, meaning "ancient clothing"), and sometimes referred in English sources simply as Silk Robe (especially those worn by the gentry) or Chinese Silk Robe refers to the historical dress of the Han Chinese people, which was worn for millennia before the conquest by the Manchus and the establishment of the Qing Dynasty in 1644. The term Hanfu derives from the Book of Han, which says, "then many came to the Court to pay homage and were delighted at the clothing style of the Han [Chinese]."

Cheongsam - Qipao

2008-07-21T23:42:00.000-07:00

The cheongsam is a body-hugging (modified in Shanghai) one-piece Chinese dress for women. It is known in Chinese as the qípáo (旗袍), qípáor (旗袍儿), Wade-Giles ch'i-p'ao, and is also known in English as a mandarin gown. The modern cheongsam is a modernized version of the qipao of the Manchurians who conquered China in the 17th century (Qing Dynasty).

Cross-stitch Embroidery Art

2007-05-08T02:09:00.001-07:00

Cross-stitch Embroidery Art

Cross-stitching, a type of embroidery, involves stitching one cross after another onto a fabric grid to form different patterns. Cross-stitched handkerchiefs and clothing accessories are unsophisticated and simple yet durable.

Cross-stitching is popular all across China (especially in southern Shaanxi Province) and cross-stitched handicrafts are much loved by the Chinese people. Besides the Han nationality , people of many ethnic minorities in China also adore the craft, including the Dong, Miao and Qiang people.

In western China's rural areas, cross-stitching is nearly always executed with indigo blue thread on coarse, white cotton fabric. One- or two-colored embroidery made by peasants is perhaps the most striking of all, showing off its complex designs.

One of the most important and widespread functions of cross-stitching has been to adorn peasants' garments and household linen, often as a way of indicating family wealth and status in the community. Peasant embroidery is a purely domestic skill that is passed down through generations from mothers to their daughters. The stitching is simple and the fabric is readily available -- usually in the form of woven linen or cotton. Although thread colors are often limited to just two or three types, they are beautifully dyed and often accentuated by dark brown or black outlines.

Origin and spread

From historical and archaeological evidence, there is not yet enough accurate information to trace the exact origins of cross-stitched embroidery. Some historians, however, suggest that the development of cross-stitching is greatly owed to the craftsmanship of the Chinese since this type of embroidery is known to have flourished during the Tang Dynasty (618-907) and a strong rural tradition of cross stitching still existed in the area during the early 20th century.

It is feasible that techniques and designs spread from China via India and Egypt to the great civilizations of Greece and Rome and then to the eastern Mediterranean and the Middle East. An alternative school of thought says that the spread of cross-stitched embroidery may have gone in the opposite direction since the first important migration of foreigners into China took place during the Tang Dynasty. Many Persians, Arabs and travelers from Greece and India followed the silk routes into China and eventually settled there. There is evidence that these immigrants influenced the designs of Chinese arts and crafts, particularly textiles. The patterns found on many Chinese textiles are very similar to those found on Persian fabrics.

The only certainty is that the techniques and designs of cross-stitching spread from such countries throughout the European continent. Crusaders probably brought home embroidered textiles from the Middle Eastern countries after the great crusades. The well-traveled trade and spice caravan routes carried not only merchants and their stock of articles for sale but also itinerant craftsmen, who practiced their craft wherever they went. The spread of cross-stitched designs from their place of origin to many different locations makes it difficult to pinpoint the origin of any one design.

Designs and stitching have been exchanged between so many different cultures and geographical areas -- via travel, trade and the availability of printed design books -- that many design elements are now common to a number of cultures. Even today, it is fascinating to see the same motifs recur in traditional peasant embroideries from countries as far apart as the Greek Islands, Mexico and Thailand. There are many regional variations of similar cross-stitched shapes, including the eight-pointed star, heart, and flower and bird motifs, as each basic shape is made to fit the fabric grid in a slightly different way.

Looking after cross-stitched works

Embroidered items, such as tablemats and napkins, which are intended to be used rather than displayed, must be laundered at regular intervals to remain in tiptop condition. If you suspect that the threads may not be colorfast, have the piece dry-cleaned instead of cleaning it yourself. The best way to clean cross-stitched works is to wash them carefully by hand in hot water with a mild, detergent-free cleaning agent. Most specialist fabric shampoos are ideal, but check that they do not contain optical brighteners, which will cause the thread and fabric colors to fade. Rinse thoroughly several times and then roll in a towel and press gently to remove surplus water. Gently ease back into shape and dry away from direct sunlight.

When using table linen, take immediate measures to correct spills and stains: Mop up the excess liquid with paper towels or tissues and rinse the fabric under running tepid water. Scrape off spilled foods quickly and then blot with a paper towel before washing in the usual way. For stubborn stains, use a solvent or brand-name stain remover, but be sure to test a small area first; if unsure, seek professional advice. When treating stains, remember that it is better to repeat a mild treatment several times rather than using a harsh solvent that may damage both threads and fabrics.

Press the embroidery while it is still slightly damp: Pad an ironing board with a couple of old, clean towels, then lay the embroidery on with the wrong side up. Cover with a piece of clean white fabric (a cotton sheet is ideal). Set your iron to a temperature that corresponds to the fabric's composition, for example, the linen setting for linens, slightly cooler for Aida and cotton fabrics, and even lower for even-woven fabrics made from cotton/viscose mixtures. Press lightly, taking care not to flatten the stitches. Old-fashioned laundry starch will give an attractive, crisp finish to table linen. Make sure the iron is not too hot.

Before storing the cross-stitched works, make sure they are clean and dry. Avoid storing fabrics for any length of time in polythene bags since the static electricity created by polythene attracts dirt and dust which will sully the fabric. Sealed polythene bags also prevent natural fibers, such as cotton and linen, from "breathing," which can result in mildew and eventually weaken or rot the fibers. Instead, store small items laid flat, and larger ones rolled around an acid-free cardboard tube protected by layers of white, acid-free tissue paper. For items too large to roll up, fold loosely between layers of white tissue paper, making sure that each fold is padded with tissue. Store all of the items in their own clean fabric bags in drawers, cupboards or other dark, dry and moth-free places. Small fabric bags of dried lavender add a sweet scent and help prevent moths.

Essential tips and secrets

Change needle sizes according to fabric count

Remember: If you change the size of the fabric from the pattern specifications, you may also need to change the size of the needle. Lower-count fabrics require larger needles than higher-count fabrics. The needle should pass between the threads (or through the holes of Aida) easily, without "hanging up." However, a smidgen of resistance is acceptable since a needle that is too small will slide through the fabric too quickly, making it hard to maintain an even tension for your stitches.

Soften large areas of stitches with half-crosses

Even if a pattern calls for whole cross-stitches in a large landscape design area, like grass, sky or water, you can speed up the process and soften the appearance by using half cross-stitches instead.

** Cover large areas of fabric with ease

Although stitching large, single-colored areas is easy, it can get boring and very time-consuming. Consider using colored fabrics to match the colors of large areas, like a sky-blue fabric for sky designs, or aqua-colored fabric for water designs. A few stitches can be added to create clouds or foam in the area for a realistic effect

Changing the design size

You can change the design size simply by changing the fabric's thread count. For a larger piece, use a lower count fabric; for a smaller piece, use fabric with a higher thread count than outlined in the pattern.

For example, a piece stitched "over two" on 28-count fabric will be the same size when worked on 14-count Aida, or over two on 28-count even-weave or linen. To make the piece slightly larger, use 10- or 11-count Aida; for a smaller finished product, try 36-count, stitched "over two," or 18-count Aida.

Make your projects last

For a long-lasting product, use plastic cross-stitched canvas (vinyl weave) instead of perforated paper, which is made especially for cross-stitching and is very durable. Cross-stitched canvas holes are similar to those of perforated paper, as well.

Keep your hands clean and smooth

Mix equal parts (1 tablespoon) of vegetable oil and sugar (do not use the superfine variety). Use this solution to wash your hands, paying particular attention to areas around the nails. Then wash your hands very thoroughly with soap and water. This process will help remove any dry skin from your hands: You won't believe how silky they feel. Use after working with silk fibers.

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The Exhibition of Outstanding Chinese Realists' Artworks more

2007-04-12T02:25:00.001-07:00

Throughout the history of Chinese art, many different styles have existed, but none excels the realist group in influence, which is represented by Chen Yifei, Ai Xuan, Yang Feiyun, Wang Yidong, He Duoling and so on. Most of them are regarded as leaders of Chinese oil painting, and their artworks are always arousing wide attention.

The realistic painting is a classical and traditional style. From the rock art of Spain to the academism and the impressionism of 19th Century France and from the Soviet Union to the socialistic period of China, the painting style was always realistic.A painting pattern can last thousands of years, since it is not just dependent on heritage or a certain teaching system. In the human brain, some regions are in charge of interaction and analysis of shape, color, proportion and balance. That's why peoples' judgments toward materials are basically identical.

Hundreds of years ago, before Pieter Bruegel and Rembrandt, the Europe continent didn't know the artwork of the Orient, where realistic painters like Ma Yuan, Fan Kuan, and Zhang Xuan were very famous. This has changed in modern times, with Asia and the West more able to exchange culture and influence each other. For example, the Japanese Ukiyo-e Painting was much admired in the West and considerably influenced the works of impressionist and post-impressionist painters such as Ganguin and Van Gogh. On the other side, the Chinese oil painting also absorbed aspects of European painting.

The realistic painters developed further after China's reform and opening-up in the 1980s, and most of them became famous in that period. The open environment helped them gain not only inspirations from modern Western art, but also an insight into traditional Western art. Their works were a real reflection of their feelings.

Despite the rejection from modern art, today the realistic painters are still endeavoring to fulfill their target. They have been holding exhibitions yearly since May, 2004, because they know what the masses want. The society and culture should not belong to the minority, and the masses have the right to accept the art that they like and to refuse what they don't like.

Qipao, Floating with Oriental Bearings

2007-03-18T06:40:00.000-07:00

Qipao had entered its shiniest period since 1920s to 1940s, during which 1930s was the zenith period. Right at that time, Qipao had settled its irreplaceable position on the stage of women's costume as its typical representation. The reformed Qipao emerged in post 1930s period had adopted the western cutting method on structure, to improve the fitness of the body. Therefore, the reformed Qipao quickly became fashionable from Shanghai to all over China.

In 1940s, Qipao came to its golden time. After 1950s, Qipao began to decay. However, as the antique restoration rising up, Qipao returned to the stage of fashion after it had experienced the absence for half-century, with even more taste than years ago. Qipao has been regarded as a formal dress with national meaning for various international social occasions.

Qipao has been divided into Beijing Style and Shanghai Style, both of which represent two individual styles in artistry and culture. The Shanghai style features in absorbing western artistry, with more creation and flexibility and commercial atmosphere. However, Beijing Style has its official style to appear more restrained and lasting appeal. Though only a few women wear Qipao nowadays, the modern Qipao still keeps the traditional appeal in many aspects, showing the beauty of fashion as well, which endow its value for collection.

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Qipao, Floating with Oriental Bearings

2006-10-31T19:08:00.000-08:00

Qi-pao is originally a member of gown family and derived from the female long gown of Manchu in Qing dynasty. Different with the popular loose ch'ang-p'ao and wide belt of Han, the nomadic clothing representative—Manchu Qi-pao is snugly fitting to human's body, and is very convenient in riding, toxophily and other violent activities. After the invasion of Huangtaiji, Beijing was settled as the capital, and a powerful and dynamic wave of changing clothes was called on. The female Qi-pao reached its zenith for the prosperous decorations.

The Revolution of 1911 overthrew the rule by Manchu, and led to the temporary silence of the robe of Qi (the Manchu) people. The dissatisfaction against power of Manchu over 300 years had forced the featured costume of women of Qi, such as 'Dala wing' and 'Basin shoes', to disappear all of a sudden. Till 1924, the last emperor Puyi was driven out of the Forbidden City, the costume of Qing Dynasty had to farewell to the history. In the year 1920 or so, the New Culture Movement aroused people's yearning for beauty, especially the young had appeared unprecedented na?ve, easy and pleasant. During this period, Shanghai had become the new exhibiting stage for women's cosmetics and costumes, that pursuing new fashion had become very popular at that time, since chic girls were sensitive to the fashion of both politics and costumes.

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Qipao, Floating with Oriental Bearings

2006-10-23T00:25:00.000-07:00

Chinese Qi-pao is a typical national costume which embroideries the harmony of external and the internal. Its fluent rhythm, unrestrained artistic quality and rich poetic flavor perfectly captures the virtue of elegance and serenity of oriental beauty...

Chinese Qi-pao is a typical national costume which embodies the harmony of external and the internal. Its fluent rhythm, unrestrained artistic quality and rich poetic flavor perfectly captures the virtue of elegance and serenity of oriental beauty.

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2006-09-04T01:22:00.000-07:00

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Cloth Art in China

2006-08-29T04:18:00.000-07:00

Cloth Art in China

Cloth art is an important part of Chinese folk art. Women in the countryside usually fill cloth ware with grain or cotton to make certain symbolic moulds. Thanks to their exquisite techniques and beautiful patterns, Chinese cloth art products are well received by people from both home and abroad.

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2006-08-22T10:11:00.000-07:00

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Signature Cloth

2006-08-18T11:03:00.000-07:00

Signature Cloth
The Chinese traditional guestbook isn't made of paper, but silk! Usually a medium-to- lightweight silk square, often embroidered around the edges and always red, guests sign their witness to this cloth with a black pen. The cloth is then carefully folded and stored as a special memento of the wedding. If you really want to be authentic: use a brush pen and ink. Most Chinese giftshops will carry these cloths ready to use for the wedding, often featuring dragon/phoenix motifs and/or double happiness. Signature Cloth

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2006-08-17T01:22:00.000-07:00

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Chinese Qipao

2006-08-04T09:48:00.000-07:00

Qipao

One of the most typical, traditional costumes for Chinese women, Qipao can display Chinese women's modesty, softness and beauty. Qipao

Cheongsam

2006-08-04T09:47:00.000-07:00

Cheongsam

Cheongsam were the formal dress for Chinese men before Western-style suits became common in China; they are not often worn today, except during traditional Chinese celebrations or as stylish party dresses. Cheongsam

Chinese Qipao

2006-08-01T00:55:00.000-07:00

Chinese Qipao

Qipao (Ch'ipau) is one of the most typical, traditional costumes for Chinese women. Also known as cheongsam, it is like a wonderful flower in the Chinese colorful fashion scene because of its particular charm.

In the early 17th century in North China, Nurhachi, a great political and military strategist, unified the various Nuzhen tribes and set up the Eight Banner System. Later he led his troops into Beijing and overthrew the Ming Dynasty. Over the years, a collarless tube-shaped gown was developed, which was worn by men and women. This is the embryo of the Qipao. It became popular among the royal palace of the Qing Dynasty and the mansions of the Manchu nobility. At that time, it was loosely fitted and long enough to reach the insteps. Usually it was made of silk, and embroidered, with broad laces trimmed at the collar, sleeves and edges. The dress empresses of past dynasties wore them. Their style of dress was regarded as the highest of standards for Chinese women for several thousand years.

The only medium to display the elegance of a human body is an elegant costume. Whatever costume a woman wears, in addition to magnificence and nobility, she must have a thirst for elegance or beauty. Perhaps that's the reason why Qipao was born.

In the past, the collar of the costume was made high and tight-fitting to keep warm. Qipao has incorporated this feature, not just for preventing coldness but also for beauty. The collar of Qipao generally takes the shape of a semicircle, its right and left sides being symmetrical, flattering the soft and slender neck of a woman. The collar of Qipao is meticulously made, especially the buttonhole loop on the collar, which serves as the finishing touch. We can't help but admire the designers' artistic originality. The design of the front of Qipao depicts the maturity of women properly, reminding people of the line of a Chinese poem 'A garden full of the beauty of spring can not be prevented from being enjoyed.'

Qipao generally has two big slits at either side of the hem for convenient movement and display of the slender legs of women. Unlike a short-length skirt, the slits of Qipao expose a woman's legs indistinctly when she walks, as if there was a blurred emotional appeal of 'enjoying flowers in mist.'

Qipaos can display Chinese women's modesty, softness and beauty. Like Chinese women's temperament, Qipaos are elegant and gentle.

Like other costumes, the beauty of Qipao comes first. Simplicity is one of its features from the collar, loop, chest, waist and hips to the lower hem, and a Qipao almost varies with a woman's figure. It not only lays stress on the natural beauty of a female figure, but also makes women's legs appear more slender. Mature women in Qipaos can display their graceful refined manner.

Besides its simplicity, Qipao provides designers with vast, creative space: some short, some long, with low, high, or even no collars at all.

Practicality always goes with beauty. Qipaos are worn in both urban and rural areas, its long-standing elegance and serenity making wearers fascinating.

When wearing Qipao, women should pay attention to the match as a whole; particularly middle-aged or elderly women should do so. Hairstyles, jewelry, socks and shoes should match Qipaos properly in color and design.

Today, with the development of the market economy in China, designs or styles of fashions are so dazzling as the stars that the eye cannot take them all in. As a result, people are often at a loss what to choose when facing the vast sea of fashions. On the other hand, it is just a golden opportunity for Chinese national costumes to regain their popularity. Fashion culture has become a point of intersection of social culture, reflecting economic developments, social progress and educational level. It represents people's spirit, living standards and aspirations towards beauty.

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2006-06-21T06:41:00.000-07:00

----------------------------- New Arrival --------------------------

------------------------- New Arrival -------------------------

QiPao -- The Chinese Dress

2006-06-08T20:23:00.000-07:00

QiPao -- The Chinese Dress

Known these days as the "traditional Chinese dress", the original qipao looked very different from the versions today.

Qipao is the Mandarian name of this dress. It is also referred to as cheongsam in Cantonese, which literally translates to "long dress".

Though today considered the "traditional" dress, it dates back only to the last Chinese Dynasty, Qing (1644-1911 AD). When the Manchu first took over, they organized the people into banners, qi. Thus, the qipao became the "banner gown" that was worn by both men and women.

The general characteristic of the early qipao was a single piece of cloth that would cover the whole body, down to the feet. Around the neck, the collar would be high to help secure outfit. The material was loose, with slits on the side only to allow for easier movement.

As the dynasty progressed, the qipao became very decorated with elaborate embroideries. Certain colored silks were used to distinguish rank and position.

While the Qing Dynstasy fell, the center of Chinese fashion became Shanghai, where the Western influence was highest. It was here that the form of qipao we see mostly commonly today developed: slender fit and shorter sleeves. It was also because of this Western influence that men wearing qipaos fell out of favor. Women were featured in various calendars and portraits wearing these modern qipao's, which helped to spread the popularity of this style as the image of beauty.

During the Communist Revolution, staring in 1949, the qipao was thought to be a throwback to the "old ways" and thus outlawed. People began to wear the Mao jackets and uniforms that were standard issue. However, areas outside of the Communist rule, such as Taiwan and Hong Kong, continued to make these dresses popular and a symbol of Chinese elegance.

Today, these dresses can be seen everywhere and in a variety of lengths and styles. They are very much part of fashion and even been integrated with other Western style elements to meet the ever changing definition of beauty.

Nepalese Jewelry

2006-06-07T21:05:00.000-07:00

Nepal has had much recent national coverage. It is a very complicated situation there and interpreted differently according to whose eyes you are viewing the situation through.

Manchu Ethnic Minority

2006-06-06T05:30:00.000-07:00

Manchu Ethnic Minority

The Manchu, with a population of 9.82 million (by 1990), are mainly distributed in Liaoning, Jilin and Heilongjiang provinces, of which Liaoning has the most Manchus. A small number of the Manchus scatter in Inner Mongolia Autonomous Region, Xinjiang Uygur Autonomous Region, and Hebei and Shangdong provinces.

Manchu has its own language and letters, which belong to the Manchu-Tungusic Austronesian of the Altaic Phylum. Manchu letters were created in the 16th century on the base of Mongolian letters. With more and more Manchus settling in the Central Plains since the Qing Dynasty (1644-1911), the economic and cultural exchange between the Hans and Manchus became more and more frequent and the Manchus gradually adopted the Han language.

Manchu history can be traced back to the Nuzhen people who lived 2,000 years ago. They were the earliest ancestors of the Manchu. In the Liao (916-1125), Song (960-1279), Yuan (1271-1368) and Ming (1368-1644) dynasties, they were called "Nuzhen". At the end of the 16th century, Nurhachi unified the tribes of Nuzhen and a new ethnic group -- Manchu -- came into being. With the founding of the Qing Dynasty in 1644, the Manchu reached its golden age. After the 1911 Revolution, this ethnic minority was named the Manchu ethnic minority.

Like the Han people, most Manchus are engaged in agriculture-related jobs. They also raise tussah silkworms. Most of the Manchu people in cities, who are better educated, are engaged in traditional and modern industries.

The traditional costumes of a Manchu man are a narrow-cuffed short jacket over a long gown with a belt at the waist to facilitate horse-riding and hunting. Manchu women used to wear loose-bodied Cheongsams and embroidered shoes. In the past, Manchu men wore their hair long. They braided their hair and let the braids droop behind their heads. During the Qing Dynasty (1644-1911) the queue became the standard fashion throughout China, eventually becoming a political symbol of the dynasty. Women coiled their hair on top of their heads and wore earrings and headgear.

Following the Manchus' southward migration, the common people came to wear the same kind of dress as their Han counterparts, while the Manchu Cheongsam was adopted by the Han women generally.

Most Manchus believed in Shamanism in the past, thinking that there were many gods commanding the world. Now this belief has faded away. The Manchu and the Han basically share the same festivals and holidays such as the Spring Festival, the Duanwu Festival and the Mid-autumn Festival, although there are still some differences in terms of celebrating ceremonies. During festivals, the Manchus always hold various traditional sports activities, of which the most common sports are Pearl Ball and skating.

Chinese clothing

2006-05-19T21:47:00.000-07:00

Chinese clothing, Cheongsam, Qipao

Qipao (ch'ipau, qi pao) is one of the most typical, traditional costumes for Chinese women. Also known as cheongsam, it is like a wonderful flower in the Chinese colorful fashion scene because of its particular charm.

Cheongsam is fit to Chinese women's slim figure, especially the Shanghai girls. The following four factors promote the fashion's generation and popularity:

1) At that time, foreign stuff entered Chinese market continuously;
2) There were fashion column in all big newspapers and magazines;
3) Fashionable dressed girl with monthly calendar was very popular;
4) Some department stores also held many fashion shows.

Qipaos can display Chinese women's modesty, softness and beauty. Like Chinese women's temperament, Qipaos are elegant and gentle.

qipao, cheongsam dress, qi pao, long dress,Ch'ipau, cheongsam qipao -- qipao qi pao cheongsam ch'ipau

***

In the international world of high fashion, Chinese dresses enjoy a growing popularity. Chinese dresses are known as the "cheongsam" or "qipao." Cheongsam is derived from the Cantonese (and Hong Kong) dialect which translates to "long dress." Qipao is a Mandarin pronunciation which translates to "banner gown."

The name for Chinese dresses were derived from the late 1800s to early 1900s. When the early Manchu rulers went to China proper, they organized certain people, mainly Manchus, into "banners" (qi) and called them "banner people" (qiren), which then became term for all Manchus. The Manchu women wore a one-piece dress which came to be called "qipao" or "banner dress." Although the 1911 Revolution toppled the rule of the Qing (Manchu) Dynasty, the female dress survived the political change and, with later improvements, has become the traditional dress for Chinese women.

Originally, the cheongsam was a loose fitting, ankle length dress with long sleeves, a high mandarin collar, and side slits. With the changing times, hemlines rose and fell, and fabrics reflected the trends at the time. However, with these changes certain features still remain: Easy to slip on and comfortable to wear, the cheongsam fits the female Chinese figure elegantly. The dresses neck is high, the collar is closed, and its sleeves may be either short, medium, or full length, depending on season and taste. The dress is buttoned on the right side, with a loose chest, a fitting waist, and slits up from the sides, all of which combine to enhance the beauty of the female shape. Some modern adaptations include zippers and snaps taking the place of frogs, and closures varying from the asymmetrical front flap to the easy zip back.

Today, cheongsams are worn at diverse events as evening wear by the bride in traditional Chinese weddings, in the entertainment and hospitality industries, and even raves. The cheongsam and qipao is a classic dress that continues to inspire new designs from top designers around the world. Made of different materials and to varying lengths (mini length dress, knee length dress, and ankle length dress), these dresses can be worn either on casual or formal occasions. At any occasion, it creates an impression of simple and quiet charm, elegance and neatness. No wonder it is so much liked by women not only of China but of foreign countries as well.

Jing Xiu Embroidery

2006-03-24T19:21:00.000-08:00

Jing Xiu Embroidery

Among the major schools of traditional Chinese embroidery, Jing Xiu handicraft is at the risk of disappearance and has been listed as works of China's own Intangible Cultural Heritage (a list ensuring that China's best culture tradition is preserved and developed as well as made known to the outside world).

Jing Xiu, also called Gongting Xiu or Gong Xiu, was originally made for the imperial household. In Chinese, Xiu means embroidery and Jing was named after Beijing, while Gongting or Gong refers to the royal palace occupied by the imperial families in old China.

The history of Jing Xiu dates back to the Tang Dynasty (618-907) when special workshops were established to produce embroidery items for the imperial household. In the Ming (1368-1644) and Qing (1644-1911) dynasties, the style of Jing Xiu took shape in terms of materials, handcraftsmanship, and embroidery patterns.

Noted for the rigid standard of counted stitch, symbolic patterns, and second-to-none skills, Jing Xiu embroidery took the lead of the Four Minor Embroidery Schools of Qing, along with the embroideries of Lu Xiu from Shandong Province, Bian Xiu from Henan Province, and Ou Xiu from Zhejiang Province.

Uniqueness

** Imposing Style

Jing Xiu stands out by its strong influence in the style from the imperial qualities, an attribute that is rare in Chinese embroidery arts. The needlework features elegant colors and grandiose images, marked by rigorous specification on silk material, types of stitches, and design patterns. The whole piece spreads out the smell of dignity, nobility and masculine splendors, as opposed to the local stitch works spiced with delicacy. Although complicated in the design, the booming composition arouses no sense of lavishness but lends itself to aesthetic enjoyment.

** Luxuriant Texture

Jing Xiu was remarkably expensive concerning its material. Since it was made especially for the royalties, including the emperor and the queen, the silk material used was second to none. The needlework was basically created in choice satin, into which silver and gold thread was largely woven. Meanwhile, flying dragons and grand phoenixes constituted the major theme of the embroidered patterns, with an emphasis on absolute sovereignty and honored glory.

** Male Workers

A curious character of Jing Xiu is related to its handicraft workers. Unlike other embroidered piece made by females, Jing Xiu, with a view to embody the emperorship, was commonly fashioned by skillful craftsmen.

** Stringent Specification

Apart from design patterns and embroidered colors, stern requirements were also imposed on satin stitches. A case in point is the imperial robe, onto which dragon eyes, claws, and hair were embroidered with special standard in terms the number of needling, the distribution of the stitch, and the gradation of the color.

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2006-03-22T01:09:00.000-08:00

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Cheongsam (qipao)

2006-03-13T03:07:00.000-08:00

Cheongsam (qipao)

　
The cheongsam is a female dress with distinctive Chinese features and enjoys a growing popularity in the international world of high fashion.

The name "cheongsam", meaning simply "long dress", entered the English vocabulary from the dialect of china's Guangdong province (Cantonese). In other parts of the country including Beijing, however, it is known as " qipao", which has a history behind it.

When the early Manchu rulers came to china proper, they organized certain people, mainly Manchus, into "banners" (qi) and called them "banner people" (qiren), which then became loosely the name of all Manchus, the Manchu women wore normally a one-piece dress which, likewise, came to be called "qipao" or "banner dress". Although the 1911 Revolution toppled the rule of the Qing (Manchu) Dynasty, the female dress survived the political change and, with later improvements, has become the traditional dress for Chinese women.

Easy to slip on and comfortable to wear, the cheongsam fits well the female Chinese figure. Its neck is high, collar closed, and its sleeves may be short, medium or full-length, depending on season and taste. The dress is buttoned on the right side, with a loose chest, a fitting waist, and slits up from the sides, all of which combine to set off the beauty of the female shape.

The cheongsam is not too complicated make. Nor does it call for too much material, for there are no accessories like belts, scarves, sashes or frills to go with it.

Another beauty of the cheongsam is that, made of different materials and to varying lengths, they can be worn either on casual or formal occasion. In either case, it creates an impression of simple and quiet charm, elegance and neatness. No wonder it is so much liked by women not only of china but of foreign countries as well.