Historical & Modern Resonance

From Tang Dynasty (618–907 CE) court robes to contemporary haute couture, these symbols adapt yet retain their essence. Modern designers like Guo Pei reinterpret them in avant-garde fashion, while artisans in Nantong preserve traditional methods. UNESCO’s recognition of Chinese silk craftsmanship underscores its global cultural value.

Double-sided Su Embroidery (shuang mian xiu, 双面绣)

Double-sided Su embroidery of an odd-eyed cat. Left image – front; right image – back.

Perhaps most famous of all is Suzhou’s double-sided embroidery, where a single image can be viewed from either side of a piece or even different images on each side.

Double-sided embroidery is the most complex of all embroidery methods. A fine gauze or near transparent silk cloth is used and the artist must first plan the design and stitching techniques thoroughly before beginning a piece. Instead of tying knots, the embroiderer stitches over the ends of the threads, weaving them into the needlework. This is done in two layers–first using short stitches to hide the ends, and then with longer stitches to conceal the short stitches within the final artwork. Done well, the result is immaculate embroidery from any angle.

Even more complex are double-sided embroideries with different images on each side. These require the artist to simultaneously embroider two different patterns, using one needle. Where colors on both sides are to be the same, a single thread may be used. However, where different colors are needed, the embroiderer uses two threaded needles, stitching in one style above, and in another below.

Double-sided embroidery is undoubtedly the epitome of Su embroidery as an art.

Double-sided Su embroidery. Front – Peacock; Back – Tiger)

Modern History

With the onset of the Qing dynasty (1644-1912), Su embroidery was revered across China. Suzhou was officially pronounced the “City of Embroidery” and its embroideries favored by the imperial family. At the time, 65 specialist embroidery workshops were active in Suzhou and beyond royal commissions they produced an ever-growing spectrum of embroidered goods including clothing and shoes, quilts and cushions. Embroidered paintings too became popular collectors items, with master embroiderers from Suzhou gaining prominence.

This vibrant period also gave birth to new kinds of embroidery and techniques. In mid Qing dynasty, the famous double-sided Su embroidery came into being where a single embroidered image is viewed from both sides of the cloth and the ends of threads are invisibly woven into the final piece. This new kind of embroidery marked the height of Suzhou embroidery craftsmanship.

Shen Shou’s award winning ‘Portrait of Christ’

Master Embroiderer Shen Shou of Suzhou.

However her greatest gift to the Su style of embroidery was to publish the ‘Embroidery Book by Xue Huan’ (xue huan xiu pu, 雪宦绣谱) with Zhang Jian, a textile industrialist with a passion for art. It was the first book to record the techniques of Su embroidery, including ten new techniques she developed herself.

Conclusion: Threads of Eternity

Dragons and phoenixes in Chinese silk embroidery are more than art—they are narratives of identity, philosophy, and aspiration. Each stitch honors a legacy where craftsmanship and symbolism intertwine, offering the world a glimpse into China’s soul. As these motifs continue to inspire, they remind us that beauty, like tradition, is timeless.

In the words of an ancient proverb: “A dragon ascends to the heavens; a phoenix heralds a new dawn.”

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