In this embroidered piece from the Ching Dynasty (1644-1911 A.D.), the turquoise background sets off the soft and tender lotus flower rendering a graceful and elegant appearance. The veins of the leaves can be seen clearly, and the colorful hummingbird gazing adds a lively dimension to the scene.
At first glance, the work is so delicate that many art-lovers mistake it for a painting. A deeper examination of the rich and brilliant colors of the lotus petals and leaves, and the shading of the bird's feathers, however, shows that it is a finely embroidered work of art.
In the past, embroidery was considered more decorative than artistic, and needlework in general was thought of as inferior to painting and calligraphy. In part this difference in attitudes stemmed from the fact that it takes longer to prepare the implements for painting and calligraphy. The more time spent in grinding the inkstone and laying out the paper, the better prepared or, "inspired" the artist is. Needlework, on the other hand, did not take much preparation, or at least so it was thought.
During the Ming Dynasty (1368-1643) it was said that the wife of a man called Ku Shou-chien was a skilled needleworker who would not take up her needle and thread in cold, hot or stormy weather. She would wait for a clear day and choose the finest satin and the most brightly colored silk thread before she sat down to her work. In this way, she could be sure that she could concentrate on her work.
The embroidered piece featured here is one of 12 album leaves measuring 32.9 cm. by 29.8 cm. and was originally accompanied by a poem. Its finest feature is the extremely delicate needlework, the brilliance of the colors and the fact that the background is not embroidered, but dyed with a turquoise pigment instead. The piece is therefore a blending of two art forms, painting and embroidery.
