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cotton, approximately 60cm to 75cm square and gathered slightly at the top edge. Red silk ones, padded for warmth, were embroidered in satin stitch with designs of birds, flowers, or the qilin, a mythical animal, which symbolizes great wisdom. A wide band at the neck formed a comfortable shield against cold winds, while others had fur lining and hoods. Covers made by the Hoklo women were extremely decorative, and embellished with embroidery, appliqué, braid, rickrack, wool tassels, fringing, sequins, strings of tiny beads and bells, matching the carriers they covered (Plate 4). True works of art, they took many months to complete.
Designs of Carrier Centres
The centre of the carrier was decorated in many different ways. The early style had a square of red silk or sometimes wool embroidered with satin stitch. Bats, symbolizing happiness, and the Eight Buddhist emblems surrounded auspicious designs of flowers, or often the qilin. At the centre top of the square, was a small folded triangular piece of cloth, from three to five layers thick. It was considered to be a lucky charm and originally represented the five blessings: health, wealth, happiness, long life, and the right to a natural death. In recent times only one or two layers were used. As well as being a lucky charm, it had the advantage of indicating which way up the carrier was usually worn, thus conforming to the shape of the child.
The Cantonese and Hakka women favoured red, considered an auspicious colour, or vibrant shades of flaming orange or bright pink. The ground cloth was usually of cotton or rayon satin for special occasions. Various good luck symbols were brightly embroidered in fuchsia, orange, lemon and vivid green satin stitch in floss or twisted silk on the centres. A pair of mandarin ducks symbolized marital fidelity and conjugal happiness, while the lotus flower represented purity and, with its seedpod, a wish for fruitfulness (Plate 5). Likewise, pomegranates with their many seeds stood for abundance in all things, especially sons.
Many of the designs had a charming period feel: the influence exerted by books of embroidery designs popular in Shanghai in the 1920s and '30s was still strong (Plate 6). Chinese characters were used frequently for long life and good fortune; those for 'double happiness'
98
cotton, approximately 60cm to 75cm square and gathered slightly at the top edge. Red silk ones, padded for warmth, were embroidered in satin stitch with designs of birds, flowers, or the qilin, a mythical animal, which symbolizes great wisdom. A wide band at the neck formed a comfortable shield against cold winds, while others had fur lining and hoods. Covers made by the Hoklo women were extremely decorative, and embellished with embroidery, appliqué, braid, rickrack, wool tassels, fringing, sequins, strings of tiny beads and bells, matching the carriers they covered (Plate 4). True works of art, they took many months to complete.
Designs of Carrier Centres
The centre of the carrier was decorated in many different ways. The early style had a square of red silk or sometimes wool embroidered with satin stitch. Bats, symbolizing happiness, and the Eight Buddhist emblems surrounded auspicious designs of flowers, or often the qilin. At the centre top of the square, was a small folded triangular piece of cloth, from three to five layers thick. It was considered to be a lucky charm and originally represented the five blessings: health, wealth, happiness, long life, and the right to a natural death. In recent times only one or two layers were used. As well as being a lucky charm, it had the advantage of indicating which way up the carrier was usually worn, thus conforming to the shape of the child.
The Cantonese and Hakka women favoured red, considered an auspicious colour, or vibrant shades of flaming orange or bright pink. The ground cloth was usually of cotton or rayon satin for special occasions. Various good luck symbols were brightly embroidered in fuchsia, orange, lemon and vivid green satin stitch in floss or twisted silk on the centres. A pair of mandarin ducks symbolized marital fidelity and conjugal happiness, while the lotus flower represented purity and, with its seedpod, a wish for fruitfulness (Plate 5). Likewise, pomegranates with their many seeds stood for abundance in all things, especially sons.
Many of the designs had a charming period feel: the influence exerted by books of embroidery designs popular in Shanghai in the 1920s and '30s was still strong (Plate 6). Chinese characters were used frequently for long life and good fortune; those for 'double happiness'
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