Qingyang Sachet embroidery

Name of China's national intangible cultural heritage: Qingyang Sachet embroidery

Applicant: Qingyang City, Gansu Province

Item No.: 325

Project No.: Ⅶ - 26

Time of publication: 2006 (the first batch)

Category: traditional art

Region: Gansu Province

Type: new item

Applicant: Qingyang City, Gansu Province

Protection unit: Qingyang Cultural Center

Brief introduction of Qingyang Sachet embroidery:

Applicant: Qingyang City, Gansu Province

Qingyang City is located in the east of Gansu Province. It is located in the Loess Plateau of the middle and upper reaches of the Yellow River. It is the intersection of Shaanxi, Gansu and Ningxia provinces. It was Beidi County in Qin Dynasty, Qingzhou in Sui Dynasty and Qingyang Prefecture in Song Dynasty. Qingyang Sachet, also known as "Kukui", is a kind of folk goods in Qingyang.

Qingyang area has the custom of wearing "Chuku" on the Dragon Boat Festival (originally a kind of sewing method of primitive bone needle, later called a bag sewn with cloth, whose mouth can be loose or tight). Its starting time is unknown. It is said that it was formed in more than 2300 BC. Qibo, the author of Huangdi Neijing, once carried a medicine bag to prevent epidemic and drive away plague, ban snake venom, and created the "fumigation method". Because Qibo was born in Qingyang, this method has gradually become a local custom and spread continuously. Herbal medicine is called "vanilla", so the medicine bag is called "sachet" or "dwarf". By the Ming and Qing Dynasties, Qingyang sachets were very prosperous and became a good product for people to wear or present. Before the 1960s, the embroidery of Qingyang sachets was popular in every household, and most girls in Qingyang learned needlework at the age of seven or eight. In the 1960s, Qingyang sachets began to be quiet. In the past 20 years, the production and embroidery of sachets have begun to revive. In 2002, Qingyang City was named "hometown of sachet embroidery" by the Chinese folk custom society.

Qingyang Sachet is a kind of pure handicraft product with three-dimensional modeling and plane embroidery compatibility. It is simple and simple in configuration. According to the production technology, it can be divided into four types: dwarf, thread tray, three-dimensional embroidery and plane embroidery. "Kui" is also known as zangzhen embroidery. It is characterized by hiding the needle and thread. It is a good place to have both shape and spirit without needle and thread. Its technological process includes creativity, material selection, cutting, appearance and so on. The thread coil sachet is a kind of "zongzi" which is made of various colored lines into a five angle diamond shape. Its techniques include folding shell, color matching line, coil line forming, achievement (that is, the finished product of the thread coil is joined and hung with colorful ears), etc. the sachet made in this way can be worn with you, can be hung in the courtyard, and can also be given to others to show peace. There are nearly 400 styles of sachets with three-dimensional embroidery, such as single-sided hanging, wearing pieces, double-sided hanging, wearing pieces, three-dimensional hanging pieces and ornaments. The production process is divided into composition, embroidery, color dyeing, sewing, achievement and so on. There are some technological steps, such as appearance, making appearance, expanding back, putting on appearance, embroidery, appearance, achievement, dressing and so on . The style of flat embroidery sachets is thick and dignified, and the thick and solid sachets are meaningful. The production methods include broken thread embroidery, combined thread embroidery, multi stitch embroidery, even stitch, braided stitch, seizing stitch, mixing stitch, grabbing stitch, pulling stitch, Panjin, dianjin, circled stitch, etc.

Qingyang Sachet is a traditional craft, now the main inheritors are Li Xiue, he Meiying and so on. At present, Qingyang Sachet embroidery is faced with the situation that hand-made products are replaced by modern reproductions, and the embroidery technology has gradually lost. Most of the very few workers with folk culture knowledge are retired, and there is a great shortage of research talents and successors, which need to be rescued and protected.