Silk-Thread-wrapping flower, a traditional craft with copper wire as its framework and silk thread as its soul, is hailed as “thread sculpture.” Originating as an elegant embellishment in the Northern Song Dynasty court, it has traversed a millennium to reach the common people, taking root and flourishing in the cultural soil of different eras, ultimately becoming a precious intangible cultural heritage that embodies folk customs and craftsmanship. Its evolutionary history is a vivid illustration of how traditional Chinese handicrafts have transitioned from courtly elegance to everyday life.
Song Dynasty: The origins of the courtly fashion and the birth of the prototype of the flower-wearing fashion.
The origin of the wrapped flower style is closely related to the popular flower-wearing culture of the Song Dynasty. During the Northern Song Dynasty, handicrafts and silk weaving were highly developed, and wearing flowers in one’s hair became a popular fashion in both the court and among the common people. At that time, fresh flowers were easy to wither and difficult to preserve for long, so craftsmen wrapped bamboo or copper wire with silk thread to create lifelike “flowers,” thus giving birth to the prototype of the wrapped flower style.
At this time, the “entwined flower” technique was still relatively simple, with designs mainly featuring simple floral patterns, serving more the court’s etiquette and the aesthetics of the nobility, and had not yet widely spread among the common people.
Ming Dynasty: The craftsmanship matured, marking a crucial leap from the imperial court to the common people.
The Ming Dynasty was a crucial period for the maturation of the silk-thread wrapped flower, and it also marked a significant leap from the court to the common people. With the revival of the fashion of “men wearing flowers in their hair,” floral binding was no longer exclusive to the nobility and gradually entered the lives of literati and women in their boudoirs.
During this period, the core techniques of “winding, twisting, coiling, and wrapping” in the art of embroidery became increasingly refined. Folk workshops began to emerge, and the designs of embroidery expanded from single flowers to diverse themes such as auspicious beasts and lucky patterns. It was no longer limited to hair ornaments but was also used to embellish clothing and decorate purses, becoming an elegant item for ordinary people to adorn their lives, truly realizing its transformation from a courtly pastime to a popular folk item.
Qing Dynasty: A golden age of prosperity and the rebirth of regional culture through folk customs.
The Qing Dynasty witnessed the golden age of the development of Chanhua, with increasingly exquisite craftsmanship and the formation of distinct regional styles among the people, completing the transformation from ornaments to a carrier of folk customs.
At the imperial court level, the Imperial Workshops specially crafted floral ornaments, which became an important component of the headdresses of empresses and concubines. Women in the Qing Dynasty imperial harem favored the delicate texture of silk-thread wrapped flowers, adorning them with pearls and jade during festivals, showcasing both the warmth of silk fabrics and the craftsmanship of artisans.
In folk customs, Chanhua were incorporated into life ceremonies such as weddings, birthdays, and childbirth, imbuing them with profound auspicious meanings. In the Fujian and Taiwan regions, Chanhua are called “Spring Flower” and are an indispensable part of wedding dowries and decorations. In Hakka culture, floral patterns are embroidered on children’s tiger-head hats and elderly people’s birthday hairpins with pine and crane motifs, symbolizing the protection of children’s growth and blessings for the health and well-being of elders.
From the Republican Era to the Present Day: The Inheritance of Craftsmanship and the Modern Rebirth of Traditional Aesthetics
During the Republican era, the art of Chanhua continued its popularity among the common people, with its techniques and themes becoming increasingly diverse, incorporating birds, animals, insects, fish, and Chinese characters. It continued to play a role in weddings and festivals, and also became a means of livelihood for craftspeople. However, with the changing times, the number of practitioners gradually decreased, and it was once on the verge of being lost.
In the late 20th century, with the protection of intangible cultural heritage and the revival of traditional culture, Chanhua has once again come into the public eye. Inheritors in various regions have revived their skills, delved into the essence of traditional craftsmanship, and incorporated modern aesthetics—combining embroidery with brooches, earrings, and pendants to design pieces suitable for everyday wear; and creating new themes based on the twenty-four solar terms and modern life scenes, making traditional crafts adaptable to contemporary life.
Today, the Chanhua(Silk-thread wrapped flower) is not only a national intangible cultural heritage item, but it has also been revitalized through Hanfu culture, handmade markets, and cultural and creative collaborations. From an elegant court ornament to a folk custom, and then to a contemporary aesthetic symbol, it has always retained the core characteristics of “copper wire as the bone and silk thread as the soul,” continuing the craftsmanship and warmth of traditional Chinese handicrafts.
From the imperial court to the common people, the millennia-long evolution of Chanhua (silk-thread wrapped flower) is a vivid testament to the integration of Eastern aesthetics into daily life. Using silk threads as a brush and craftsmanship as ink, it outlines an enduring Eastern beauty through the changing times, becoming an important link connecting ancient and modern cultures and transmitting national aesthetics.
