Author：Sophie Chen
Date：24 Nov 2024
In our previous article, we published a study on U.S. Silk Consumption and Industry in 2024 based on U.S. international silk trade statistics. In this article, we discussed the fusion of Chinese and Western artistic styles in Canton Embroidery (Guangxiu) during the Qing Dynasty in foreign trade. Particularly from the late 19th to the early 20th century, with the growth of trade between China and the West, many exquisite Canton embroidery pieces were exported as luxury items to Europe, the United States, and other regions. The article focuses on analyzing the design characteristics, color usage, and pattern changes in these exported pieces, specifically how they incorporated Western aesthetic concepts.
During the Qing Dynasty, Canton embroidery (Guangxiu), as a significant part of traditional Chinese embroidery art, was not only popular in domestic markets but also gradually entered international markets. Especially from the late 19th century to the early 20th century, as trade between China and the West grew, many exquisite Canton embroidery pieces were exported to Europe, the United States, and other regions as luxury items. The patterns and color schemes of these exported Canton embroideries often differed from traditional domestic ones, displaying distinct foreign influences. By analyzing the designs and color usage in these pieces, we can observe how they integrated Western aesthetic concepts in the context of cultural exchange.
Foreign Influence in Color Schemes
1.High Saturation and Bright Colors
Unlike traditional Canton embroidery, which tends to favor elegant and soft tones (such as pale pinks, light greens, and beige), exported Canton embroidery frequently utilized highly saturated colors like blue, purple, red, and gold. The extensive use of blue and purple, in particular, created a striking visual contrast. This change in color schemes was largely driven by the desire to cater to Western market aesthetics, especially during the Victorian era in late 19th century, when Western consumers had a strong preference for vibrant, eye-catching colors, believing they better conveyed luxury and intricate ornamentation.
2.Contrasting Background Colors
In the exported Canton embroidery, backgrounds of black, deep blue, and pure white were commonly used, providing a strong contrast that enhanced the 3D effect and decorative appeal of the floral and bird patterns. Black, in particular, was seen in European culture as a symbol of elegance and nobility, often used in ceremonial items like shawls and tablecloths. In contrast, the softer background colors (such as light yellow and celadon) typically used in domestic Canton embroidery appeared more subtle and gentle. This strong contrast in background colors highlighted the delicate craftsmanship and layered richness of the embroidery, meeting Western demands for visual impact.
Black Silk Background Canton Embroidery with Birds, Butterflies, and Chrysanthemums
Late 19th to early 20th century, Guangdong Museum Collection
The image above shows a product that was widely exported from China to Europe during the Qing Dynasty, known as the Manila shawl. Although these shawls were made in China, they were adorned with intricate embroidery on mulberry silk and decorated with tassels. Most of these products were shipped to Spain and South America, often passing through Manila in the Philippines before reaching their final destinations, which is why they were called “Manila shawls” (a name clearly chosen by traders to obscure the true origin of the products). This is a typical example of the fusion between traditional Chinese and European elements. The exaggerated chrysanthemum designs in blue, white, red, and purple on a black background are not traditional Chinese patterns. Additionally, full-coverage compositions, as seen in these designs, are rarely used in traditional Chinese art.
3.Decorative Use of Gold Thread and Metallic Effects
The exported Canton embroidery often employs a large amount of gold thread or colors with a strong metallic feel to outline the petals, bird feathers and other details. This “shimmering” effect is relatively rare in domestic Canton embroidery. The luxurious and opulent look of gold thread embroidery aligns directly with Western aristocratic aesthetic standards. In Western culture, gold is strongly associated with wealth, glory, and luxury, which makes this decorative application especially popular in foreign markets.
Large Hanging Scroll with Canton Embroidery Birds and Flowers by “Baoshengchang” on Navy Blue Satin, Qing Dynasty, Silk – Guangdong Museum Collection
The image above shows a large hanging scroll exported by a shop called “Baoshengchang” during the Qing Dynasty. The embroidery is crafted on navy-blue satin fabric, with commercial gold thread and other rich colors used to depict various birds and plants. The birds include a golden pheasant, crane, kingfisher (or hummingbird), mandarin ducks, magpies, and others. Interestingly, the long-legged bird in the lower left corner does not resemble traditional Chinese bird species. The extensive use of gold thread is also not aligned with the typical aesthetic of Chinese society.
European Influence on Pattern Design
When examining the patterns and compositions, it is evident that the exported Canton embroidery during the Qing Dynasty displays distinct European characteristics.
- Choice and Composition of Plant Patterns
The plant patterns in exported Canton embroidery often reflect a blend of Chinese and European designing elements. While traditional Chinese embroidery tends to focus on symbolic, stylized plants, the export pieces incorporate a wider variety of European botanical influences. The floral designs, such as roses, chrysanthemums, and lilies, which are common in Western decorative art, are frequently used in these embroideries. Additionally, the compositions often feature more elaborate, naturalistic arrangements, in contrast to the more restrained and symmetrical layouts found in traditional Chinese embroidery. This shift reflects Western preferences for more dynamic, free-flowing patterns that emphasize the beauty of nature in a more realistic way.
Such design choices not only illustrate the adaptation to Western tastes but also highlight the role of European artists and designers who worked closely with Chinese craftsmen, further blending the two cultural traditions.
Let’s review this Manila shawl, plant patterns like chrysanthemums, grape leaves and hydrangeas were used very often. While these plants also exist in China, in the exported pieces, chrysanthemums are often exaggerated in size, while grape leaves and hydrangeas take on a more exotic flair. These design choices reflect Western consumers’ enthusiasm for a naturalistic style, particularly for decorative floral and plant representations. In Western culture, flowers are not only symbols of beauty but also carry positive meanings such as harvest, unity, and longevity. The designers of exported Canton embroidery reinterpreted these plant motifs, preserving traditional Chinese aesthetics while aligning with the cultural preferences of European consumers.
2.Symmetry and Full-Coverage Composition
In terms of pattern composition, the exported Canton embroidery often employs highly symmetrical or full-coverage designs, such as chrysanthemums, golden pheasants, and butterflies, to enhance the overall visual unity and decorative effect.
This approach aligns with Western appreciation for symmetrical aesthetics, which are often considered symbols of harmony and elegance, particularly in interior decoration and home furnishings. Symmetry in design was widely favored in Western art, especially in aristocratic homes, where it conveyed a sense of order and balance. Additionally, full-coverage compositions create a cohesive and rich visual experience for the viewer, a design style commonly seen in Western home textiles and fabrics, particularly in decorative items for noble households.
Beige Satin Canton Embroidery Bird and Flower Curtains by “Baoshengchang”, 19th Century, Silk – Guangdong Museum Collection
This is another piece exported to Europe by a shop called “Baoshengchang” during the Qing Dynasty, a pair of curtains featuring Canton embroidery. The design elements, composition, and color scheme—along with the borderless design surrounded by floral motifs—give it a timeless, fashionable appeal even by modern standards.
This is a modern designed silk scarf, and viewers can compare it with earlier examples to explore the connection between different times and spaces.
Artists and Embroidery Craftsmen as the Link Between Chinese and European Art Forms
According to the British East India Company records (Canton Factory Records 1596-1833, British Library, G12(49), P31), the superintendents wrote in their logbooks: “Their (Chinese merchants’) silk is made from fine Nanjing silk, and the floral silk patterns are the latest designs, with colors as close as possible to the patterns we gave them.” This indicates that a significant portion of exported Canton embroidery was already influenced by European designers.
The Dutch East India Company records further reveal that they frequently hired Chinese artist Anthony Toanqua to create designs, and this artist also worked for the Danish Asia Company and the Swedish East India Company. In addition, many embroidery craftsmen, such as Soyching, Leonchang, Akoun, Ayau, Pinqua, Samqua, and Atay, dealt directly with their foreign clients (though prices were negotiated through the merchants). Silk weavers mainly took orders for bulk fabric and raw silk, often creating simple designs with one or two colors, such as stripes or checks. Once woven, these fabrics were handed over to the artists and embroiderers, who would add additional colors, symbols, borders, names, and other designs requested by foreign buyers (Source: “Weaver Suckin and the Canton Silk Trade in 1747-1781,” History Department, Sun Yat-sen University, Paul A. Van Dyke, School of History & Culture, South China Normal University, Chen Xianbo, Translator).
Therefore, the Canton embroideries exported from Guangzhou bore distinct European influences, blending Chinese craftsmanship with Western design aesthetics.
Schlussfolgerung
In summary, the Canton embroidery for export in Qing Dynasty incorporated numerous European aesthetic elements in its patterns, color schemes, and designs. These changes not only reflect the influence of cultural exchange and market demand but also demonstrate the adaptability and innovation of traditional Chinese embroidery art in different cultural contexts. By using vibrant colors, luxurious base materials, and decorative gold thread, these Canton embroidery pieces met the preferences of Western consumers while preserving the essence of traditional Chinese craftsmanship.
As a result, these exported Canton embroideries are not only a part of China’s artistic heritage but also a testament to the fusion of Chinese and Western cultures.