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Xiang Embroidery
Xiang embroidery is well known for its time-honored history, excellent craftsmanship and unique style. The earliest piece of Xiang embroidery was unearthed at the No 1 Tomb of Mawangdui, Changsha City of the Han Dynasty (206BC-AD220). The weaving technique was almost the same as the one used in modern times, which demonstrated that embroidery had already existed in the Han Dynasty. In its later development, Xiang Embroidery absorbed the characteristics of traditional Chinese paintings and formed its own unique characteristics. Xiang embroidery experienced its heyday at the end of the Qing Dynasty (1644-1911) and in the early Republic of China (early 20th century), even surpassing Su embroidery. After the founding of the People's Republic of China, Xiang embroidery was further improved and developed to a new level.
Xiang embroidery uses pure silk, hard satin, soft satin and nylon as its material, which is connected with colorful silk threads. Absorbing the spirit of Chinese paintings, the embroidery reaches a high artistic level. Xiang embroidery crafts include valuable works of art, as well as materials for daily use.

Shu Embroidery
Also called Chuan embroidery, Shu embroidery is the general name for embroidery products in areas around Chengdu, Sichuan Province. Shu embroidery enjoys a long history. As early as the Han Dynasty, Shu embroidery was already famous. The central government even designated an office in this area for its administration. During the Five Dynasties and Ten States periods (907-960), a peaceful society and large demand provided advanced conditions for the rapid development of the Shu Embroidery industry. Shu embroidery experienced its peak development in the Song Dynasty (960-1279), ranking first in both production and excellence. In the mid-Qing Dynasty, the Shu embroidery industry was formed. After the founding of the People's Republic of China, Shu embroidery factories were set up and the craft entered a new phase of development, using innovative techniques and a larger variety of forms.
Originating among the folk people in the west of Sichuan Province, Shu embroidery formed its own unique characteristics: smooth, bright, neat and influenced by the geographical environment, customs and cultures. The works incorporated flowers, leaves, animals, mountains, rivers and human figures as their themes. Altogether, there are 122 approaches in 12 categories for weaving. The craftsmanship of Shu embroidery involves a combination of fine arts, aesthetics and practical uses, such as the facings of quits, pillowcases, coats, shoots and screen covers.

Yue Embroidery
Also called Guang embroidery, Yue embroidery is a general name for embroidery products of the regions of Guangzhou, Shantou, Zhongshan, Fanyu and Shunde in Guangdong Province. According to historical records, in the first year of Yongyuan's reign (805) during the Tang Dynasty (618-907), a girl named Lu Meiniang embroidered the seventh volume of the Fahua Buddhist Scripture on a piece of thin silk 30 cm long. And so, Yue embroidery became famous around the country. The prosperous Guangzhou Port of the Song Dynasty promoted the development of Yue embroidery, which began to be exported at that time. During the Qing Dynasty, people animal hair as the raw material for Yue embroidery, which made the works more vivid. During Qianlong's reign (1736-1796) of the Qing, an industrial organization was established in Guangzhou. At that time, a large number of craftsmen devoted themselves to the craft, inciting further improvements to the weaving technique. Since 1915, the work of Yue embroidery garnered several awards at the Panama Expo.
Influenced by national folk art, Yue embroidery formed its own unique characteristics. The embroidered pictures are mainly of dragons and phoenixes, and flowers and birds, with neat designs and strong, contrasting colors. Floss, thread and gold-and-silk thread embroidery are used to produce costumes, decorations for halls and crafts for daily use.

Su Embroidery
With a history of more than 3,000 years, Su embroidery is the general name for embroidery products in areas around Suzhou, Jiangsu Province. The craft, which dates back to the Three Kingdoms Period (220-280), became a sideline of people in the Suzhou area during the Ming Dynasty (1368-1644). Well known for its smoothness and delicateness, Su embroidery won Suzhou the title City of Embroidery in the Qing Dynasty. In the mid and late Qing, Su embroidery experienced further developments involving works of double-sided embroidering. There were 65 embroidery stores in Suzhou City. During the Republic of China period (1912-1949), the Su embroidery industry was in decline due to frequent wars and it was restored and regenerated after the founding of new China. In 1950, the central government set up research centers for Su embroidery and launched training courses for the study of embroidery. Weaving methods have climbed from 18 to the present 40.
Su embroidery features a strong, folk flavor and its weaving techniques are characterized by the following: the product surface must be flat, the rim must be neat, the needle must be thin, the lines must be dense, the color must be harmonious and bright and the picture must be even. Su embroidery products fall into three major categories: costumes, decorations for halls and crafts for daily use, which integrate decorative and practical values. Double-sided embroidery is an excellent representative of Su embroidery.

Kites were invented by the Chinese people over 2000 years ago. About in the 12th century, Chinese kite spread to the West and oriental and Western kite culture was formed after years of development. In this process, the traditional culture integrated with the kite craft, and finally formed the kite culture with unique characteristics.
Uses of kite have been changed several times in history. According to historical record, kite was first used in military. In the mid Tang Dynasty (618-907), in which the society was stable and peaceful, the use of kites was gradually changed from military to entertainment. With the innovation of papermaking, the raw material of kite changed from silk to paper. Kite became popular among civilians with a richer variety of forms and reached the peak point in the Song Dynasty (960-1279). Participated by the literary, the making and the decoration of kites underwent great development. Kite making became a profession due to the large demand.
The Ming (1368-1644) and Qing dynasties, was the peak period of the Chinese kite. The kites underwent great development in size, design, decoration and flying skills. Literators at that time made kite by themselves, and sent to relatives and friends as a gift, regarding it a literary pursuit. In recent years, kite flying has publicized as a sports activity as well as entertainment.
To make a kite, first, the right kind of bamboo strips must be selected for the frame. It should be thick and strong for a kite of large dimensions in order to stand the wind pressure. The regular paper or sometime silk is used to cover the frame. Silk kites, especially, are more durable and generally of higher artistic value. Third, painting the kite may be done in each way. Kites could be generally divided into two categories: the Hard Wing and the Soft Wing. The Hard Wing can endure more air pressure and competitively fly higher, whilst the latter can fly farther, although it can not fly as high. In patterns, besides the traditional ones of animals, birds, worms, fishes, new patterns of human images emerged in modern times.
China has a large area of territory. As a traditional culture and folk art, kite has formed unique style of different regions during its development, among which the most famous ones are the styles of Beijing, Tianjin, Weifang in Shangdong Province, Sichuan and Guangdong Province.

Traditional Chinese decorative knots, also known as Chinese knots, are typical local arts of China. They are a distinctive and traditional Chinese folk handicraft woven separately from one piece of thread and named according to its shape and meaning. In Chinese, "knot" means reunion, friendliness, peace, warmth, marriage, love, etc. Chinese knots are often used to express good wishes, including happiness, prosperity, love and the absence of evil.
Chinese people have known how to tie knots using cords ever since they began learned how to attach animal pelts to their bodies to keep warm thousands of years ago. As civilization advanced, Chinese people used knots for more than just fastening and wrapping. Knots were also used to record events, while others had a purely ornamental function. In 1980, dedicated connoisseurs collected and arranged decorative yet practical knots passed down over centuries in China. After studying the structures of these knots, the devotees set about creating new variations and increasing the decorative value of knots. The exquisitely symmetrical knots that come in so many forms are as profound as the great cultural heritage of the Chinese people.
The Chinese knot is based on over a dozen basic knots named according to their distinctive shapes, usages, or origins. The Two-Coins Knot, for example, is shaped like two overlapping coins once used in ancient China. The Button Knot functions as a button, and the Reversed Swastika Knot was derived from the Buddhist symbol commonly seen on the streamers hanging down from the waistband of the Buddhist Goddess of Mercy.
The knots are pulled tightly together and are sturdy enough to be used for binding or wrapping, making them very practical. Furthermore, the complicated structure of the Chinese knot allows all kinds of variations and enhances its decorative value. Almost all basic Chinese knots are symmetrical, which has set certain technical limitations on the design and creation of new patterns and themes. Symmetry is consistent with time-honored ornamental and aesthetic standards in China. Visually, the symmetrical designs are more easily accepted and appreciated by Chinese people.
Except for the Two-Coins Knot, the Chinese knot is three dimensional in structure. It comprises two planes tied together leaving a hollow center. Such a structure lends rigidity to the work as a whole and keeps its shape when hung on the wall. The hollow center also allows for the addition of precious stones.
Crafting the Chinese knot is a three-step process which involves tying knots, tightening them and adding the finishing touches. Knot-tying methods are fixed, but the tightening can determine the degree of tension in a knot, the length of loops (ears) and the smoothness and orderliness of the lines. Thus, how well a Chinese knot has been tightened can demonstrate the skill and artistic merit of a knot artist. Finishing a knot means inlaying pearls or other precious stones, starching the knot into certain patterns, or adding any other final touches.
Since ancient times, the Chinese knot has adorned both the fixtures of palace halls and the daily implements of countryside households. The Chinese Macrame has also appeared in paintings, sculptures and other pieces of folk art. For instance, the Chinese Macrame was used to decorate chairs used by the emperor and empress, corners of sedans, edges of parasols, streamers attached to the waistbands of lady's dresses, as well as all manners of seals, mirrors, pouches, sachets, eyeglass cases, fans and Buddhist rosaries.
The endless variations and elegant patterns of the Chinese knot, as well as the multitude of different materials that can be used (cotton, flax, silk, nylon, leather and precious metals, such as gold and silver, to name a few) have expanded the functions and widened the applications of the Chinese knot. Jewelry, clothes, gift-wrapping and furniture can be accentuated with unique Chinese knot creations. Large Chinese knot wall hangings have the same decorative value as fine paintings or photographs, and are perfectly suitable for decorating a parlor or study.
The Chinese knot, with its classic elegance and ever-changing variations, is both practical and ornamental, fully reflecting the grace and depth of Chinese culture.

Papercuts refer to handicrafts made by cutting paper with scissors to form different patterns and pasting them on walls, windows, doors and ceilings. With their long history, papercuts, which originated in China, have been very popular among the ordinary people of China. The first papercut can be traced back to the Northern and Southern Dynasties (386-581) period. The initiation and spread of papercuts had a close relationship with Chinese rural festivals. People pasted papercuts on walls, windows and doors at wedding ceremonies or festivals to enhance the festive atmosphere.

Chinese papercuts are rich in content. The auspicious designs symbolize good luck and the avoidance of evil. The child, lotus and bottle gourd designs suggest a family with a large number of children and grandchildren. Domestic birds, livestock, fruit, fish and worms are also familiar objects depicted by Chinese farmers. There are some special papercuts of traditional design used as patterns for embroidering clothes, shoes, hats, pillows, bed curtains and door curtains. Papercuts made in different areas have different characteristics. Shaanxi window papercuts are simple and bold; papercuts from Hebei Province and Shanxi Province are bright in color; papercuts in southern provinces are delicate and fine.

The art of Jingtailan (Cloisonné) is a unique combination of sculpture, painting, porcelain making and copper-smithing that is said to have originated in Beijing during the Yuan Dynasty (1271-1368). The oldest extant piece was made during the Yuan Dynasty, but Jingtailan underwent a major change during the Ming Dynasty when at about 1450 to 1456, a new blue pigment was discovered and gave Jingtailan its current name based on the Chinese word lan for blue. Ming Dynasty Jingtailan is also considered to be the most intricate. Nevertheless, Jingtailan reached its peak during the Qing Dynasty (1644-1911) due to great innovations in copper-melting techniques.
At present, Jingtailan is classified into two categories: Jingtailan and Flower-strip Jingtailan, each of which has several sub-varieties respectively.
The making of Jingtailan requires rather elaborate and complicated processes; base-hammering, copper-strip inlay, soldering, enamel-filling, enamel-firing, polishing and gilding. The products are featured by excellent quality. The skill and workmanship have been handed down from the Ming Dynasty. Since the founding of new China, quite a number of new varieties have been created. It enjoys a high reputation both at home and abroad with most of its products for export.
All the products are beautiful and elegant in molding, brilliant and dazzling in colors and splendid and graceful in design. It is a famous local handicraft in Beijing region.
Jingtailan can be found on large objects such as vases and other large utensils and decorative items, as well as small items like earrings, bracelets, chopsticks or jars.

The art of Jingtailan (Cloisonné) is a unique combination of sculpture, painting, porcelain making and copper-smithing that is said to have originated in Beijing during the Yuan Dynasty (1271-1368). The oldest extant piece was made during the Yuan Dynasty, but Jingtailan underwent a major change during the Ming Dynasty when at about 1450 to 1456, a new blue pigment was discovered and gave Jingtailan its current name based on the Chinese word lan for blue. Ming Dynasty Jingtailan is also considered to be the most intricate. Nevertheless, Jingtailan reached its peak during the Qing Dynasty (1644-1911) due to great innovations in copper-melting techniques.
At present, Jingtailan is classified into two categories: Jingtailan and Flower-strip Jingtailan, each of which has several sub-varieties respectively.
The making of Jingtailan requires rather elaborate and complicated processes; base-hammering, copper-strip inlay, soldering, enamel-filling, enamel-firing, polishing and gilding. The products are featured by excellent quality. The skill and workmanship have been handed down from the Ming Dynasty. Since the founding of new China, quite a number of new varieties have been created. It enjoys a high reputation both at home and abroad with most of its products for export.
All the products are beautiful and elegant in molding, brilliant and dazzling in colors and splendid and graceful in design. It is a famous local handicraft in Beijing region.
Jingtailan can be found on large objects such as vases and other large utensils and decorative items, as well as small items like earrings, bracelets, chopsticks or jars.