Traditional Embroidery in Singapore

Embroidery is an ancient form of Chinese folk art. It has enthralled the world for thousands of years due to its beauty, elegance and exquisite craftsmanship. It is an integral part of Chinese history due to its prevalence in everyday life. The four major regional styles of Chinese embroidery are the Su embroidery (Su Xiu), Xiang embroidery (Xiang Xiu), Shu embroidery (Shu Xiu) and Yue embroidery (Yue Xiu) of the Han ethnic group. 

The Suzhou or “Su” embroidery style dates back to over 2000 years and is known for its delicacy and elegance. It is a general term for embroidery products produced in Suzhou city of the Jiangsu province in China. Suzhou embroidery products are famous for the distinct stitching techniques employed, with the emphasis placed on the selection of the finest threads, and the breath of art motifs. Suzhou embroidery products can be classified into two main categories, one for practical use and another for appreciation purposes. The most famous of all is the Su double-sided embroidery, which refers to stitching a similar art motif on both sides of the same cloth.  

The Hunan or “Xiang” embroidery style is a general term given for products from Changsha city of Hunan province in China. It is renowned for its rich colours and exquisite artwork compositions. It draws upon various styles of needlework and utilises threads of different colors to increase the expressiveness of the artwork. It also adopts motifs used in other traditional art forms such as Chinese paintings and calligraphy. Patterns of floras and faunas such as tigers and peonies are often used as well.

The Sichuan or “Shu” embroidery style is a general term given for products from Chengdu city of Sichuan province in China. The Sichuan embroidery style employs more than a hundred stitching and weaving techniques and thus is thought to be the most exquisite among the four major embroidery styles. The variety of techniques used provides much vibrancy and brings life to its motifs such as flowers, mountains, rivers, animals and human figures.

The Guangdong, “Yue” or Teochew embroidery style is a general term given for products from Guangzhou city of Guangdong province in China. It is renowned for its wide variety of threads used including innovative materials such as peacock feathers and horsehair. The bright colours and strong contrasts make the end products captivating.  Guangdong embroidery products are classified into two categories, one for practical use such as costumes; another for appreciation purposes. Unlike the other three styles, it is common for men to perform the needlework.

The development of embroidery

Embroidery refers to the handicraft of decorating fabrics passing a needle through the different textiles, allowing the thread attached to the needle to form patterns conceived by the embroider. The patterns can also be in the form of words. The term “nü gong” was coined to refer to the handiwork of females including sewing, spinning and embroidery.

The embroidery trade grew along with the development of the textile industry in the early period. Later, the induction of the Silk Road opened up even more avenues for the embroidery trade to flourish. Embroidery products were revered by the masses and popular as all kind of household products including costumes and curtains. It was also used for religious purposes. 

The symbolism of motifs in embroidery

The range of motifs used in embroidery products is vast and diverse, with each symbolising aspirations and hopes of the people. These include success for one’s children, unity of a married couple, health of elderly and peace and prosperity for families. For example, a scene of many kids reflects the aspiration of having more children.

The use of homophonies is also prevalent in traditional Chinese culture. Auspicious motifs such as red dates, longans, peanuts and lotus symbolise fertility, while multiple sections of a bamboo symbolise the rise in social status or personal development of an individual. 

An embroidery shop with a long history - an exclusive with Jeffrey Eng

Most embroidery shops in Singapore today are no longer making their  products by hand; rather, they function as middlemen that import embroidery products from countries such as China. Mr. Jeffrey Eng is the third generation in a line of traditional embroidery masters. The shop that he helms—Eng Tiang Huat, named after his grandfather, is over seventy years old. The shop specialises in Teochew embroidery, traditional props, costumes as well as traditional instruments.

Born in the 1960s,  Mr. Jeffrey Eng began helping his father and grandfather with the mundane tasks in the shop when he was twenty. Mr. Eng fondly recalls, “During my time, there wasn't a lot of entertainment options, and my grandfather’s shop was like my playground. There were so many props around here and I was fascinated by it. After my National Service, I decided to be involved in the business on a full-time basis. 

The differences in style over the years 

It has never been easy for traditional crafts here in Singapore. As early as the 1980s, the liberalisation process in China resulted in the availability of relatively cheaper yet wider range of embroidery products.

It is not all bad though. Mr. Jeffrey Eng shares, “However, many who made the trip to China realised that the original raw materals are no longer available and many original motifs are less exquisite than before. On the other side, I still had stocks of what my dad and grandfather locked away. Such products made a long time ago are today worth much more than in the past. ”

Mr. Eng also has a collection of traditional musical instruments. Sharing with us his knowledge, Mr. Eng says, “The earliest instruments were not allowed to employ dragon motifs, as dragons were reserved for the emperors’ exclusive use. The early traditional crafts masters placed equal emphasis on the sound the instrument could produce as well as its exterior design. One example is the two string fiddle—Erhu, which were often elaborately designed. However, due reasons such as accessibility issue, today most Erhus follow a standard design.”

Mr. Eng is open to the fusion of modern elements with traditional crafts. He tries to acoomodate his customers’ preferences as much as possible, while also retaining his belief in how traditional crafts should be presented. Customers today also look out for the practiciality of the embroidery products.

The responsibility of a third generation owner 

Embroidery wasn't always what Mr. Jeffrey Eng wanted to do, but he was convinced eventually by his grandfather, “My grandfather went around, telling others that the future of the shop lies in my hands.” In Chinese families it is common for businesses to be passed down from fathers to sons. Before I realised it, thirty years have passed. ”

Mr. Eng hopes that his efforts will help to return the shop to its former glory. Compared to the past where he mainly produces embroidery products for trade, today he attaches special emotions for all his works. He is well aware that when the time comes for him to call it a day, the shop would probably be lost and forgotten not long after. Therefore he intends to convert his shop into a quasi-musuem, open to the public to learn and appreciate the products from earlier generations.

For memory sake, Mr. Eng still retains many of the historical records of the shop. When one steps into the shop, it is as though time has come to a halt, and everything else too.