Daye embroidery from eastern Hubei and folk embroidery from Jingzhou in Jianghan are both important intangible cultural heritages of China, carrying rich regional cultural information, but they differ in visual expression. This study aims to clarify the differences in the visual cultural genes of these two embroideries and why these characteristics have emerged. Through reviewing historical materials and field investigations, the study specifically compares their performances in key aspects such as themes and patterns, craftsmanship techniques, and the application of colors and motifs. The research found that the visual genes of Daye embroidery are rooted in its "mining and metallurgy culture" background, presenting robust, pragmatic, and orderly aesthetic traits. The patterns are mostly geometric and abstract, the colors are vibrant and full, and the compositions emphasize symmetry and balance, reflecting the logical legacy of industrial production. In contrast, Jingzhou embroidery inherits the mysterious, romantic, and lively genes of "rice-cultivating Chu culture," with patterns dominated by mythological motifs and natural imagery, colors that are ancient and elegant, and compositions that pursue fluidity and rhythm, embodying the life philosophy of agrarian civilization. This difference is essentially a profound imprint of the distinct geographical environments, economic forms, social structures, and belief systems of the two regions on visual culture. This study provides a typical sample for understanding the internal diversity of Hubei's regional culture and offers theoretical basis for the differentiated protection and innovative transformation of these two types of intangible cultural heritage.
Yun et al. (Thu,) studied this question.
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