Embroidered Blankets for Babies Jungle Animal Embroidery Designs

Embroidery: Animals

EA1: This tapestry depicts wild animals surrounded by ii floral vines that form a frame. Such floral vine paj ntaub have traditionally been sewn by immature Hmong girls to give to their boyfriends as gifts. Typically, a young girl sewed a pair of birds onto a white towel. A jump or pool of h2o, elders believe, has mineral and healing proprieties. At the center right is a wild boar whose tusks Hmong believe accept magical powers. They are used as charms to protect confronting affliction and from potentially dangerous situations including gainsay or long trips. The boar is portrayed as a green brute (although it is actually gray or black), considering its hair has a blue-green sheen. This piece was made on cotton cloth with cotton embroidery thread in yellow, pink, red, green, and muted colors including brownish and black. The technique used involved surface stitching. Two thin borders of grey and white were sewn as frames. By Blia Yang, 1988, 38x40 cm Photo by Noah Vang, item at the Hmong Archives
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EA2: This paj ntaub depicts wild animals around a swimming, in their natural surround. It is springtime with flowers blooming. Pictured animals familiar to the Hmong including a tiger, often found in Hmong folktales and commonly associated with bad and evil spirits. At the lesser centre, a bush-tailed porcupine, or nploos in Hmong, is eating a yellowish fruit. Bush-tailed porcupines are trapped and killed for their meat, considered a delicacy in Laos. A surface stitching technique was utilized. It was sewn with cotton thread onto a blue textile. Grey and white borders were used as a frame. Sold past Khoua Thao, Thailand, 2004, 49x49 cm Photo by Noah Vang, item at the Hmong Archives
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EA3: This piece is another wild animal paj ntaub, with commonly hunted animals pictured, and with the exception of the rhinoceros which is also office of the scene. The Hmong believe the rhinoceros has healing properties. If i is lucky enough, he or she will see this purple animate being roaming in the wild. In the center is a group of deer, eating grass and drinking water from a pond. A pair of quail is heading toward the pool of water, besides as pheasants and other birds. The technique used involved surface stitching. Cotton threads were embroidered onto the surface of the grey cloth, and calorie-free blue and dark blueish borders were sewn to frame the motion picture. By Chao Lor, 1988, 38x40 cm Photo past Noah Vang, detail at the Hmong Archives
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EA4: This tapestry portrays a pond scene with wild fauna, including ii helmeted hornbill birds sitting on tree branches at the upper right. These are large, noisy birds nesting high upward in the trees of the Lao jungle. They are difficult to trap. In the center, antelopes, deer, a gaur (or wild bull), and a rhinoceros are facing each other around the pond. The animals are not accurately portrayed. They are distored. The sewing technique used for this paj ntaub involved surface stitching, using cotton fiber thread on a bluish cotton textile. Grayness, white, and blue borders class the frame. Past unknown artist, 1988, 39x38 cm Photo by Noah Vang, detail at the Hmong Athenaeum
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EA5: This tapestry shows wild animals, including a wild gaur and an antelope drinking water from a pond. An elephant and a fox, like the boar, are portrayed as greenish animals, due to the bluish-green sheen of their skin or fur. In reality, they are either blackness or gray. Hmong artists often moving-picture show elephants equally green. The technique used involved surface embroidery stitching, sometimes known as freehand embroidery. A opposite appliqué technique was used for the two snail motifs, facing each other to create an elephant's pes motif variation. Between the ii snail motifs, the two orange and white satin stitches represent flower seeds. Gray, white, and blue borders are sewn to the blueish cloth every bit frames. Sold past Khoua Thao, Thailand, 2004, 46x46 cm Photo past Noah Vang, item at the Hmong Archives
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EA6: A pair of birds depicted like this usually symbolizes the honey of a couple. They are perched on a branch that has young sprouting blossoms that appear as if they contain nectar. The flowers provide the connotation that the couple's love is sweet. By Shong Thor, 1980s, 37x38 cm Photograph by Noah Vang, particular at the Hmong Athenaeum
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EA7: This is not a typical Hmong embroidery, but rather unusual considering often birds are depicted with other animals, and not on their own. More unusual is the pair of blue jays, natives of Due north America, and their young nesting on a colorful autumn branch. The method used for this tapestry involved surface stitching. Two borders were sewn as appliqué and used as a frame. Past Ia Moua, 1980s, 39x39 cm Photo by Noah Vang, item at the Hmong Archives
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EA8: This embroidered tapestry depicts the rooster, a very of import animal to the Hmong. According to a Hmong folktale, there were thirty suns in aboriginal times. They caused the world to dry up, and people were unable to cultivate crops. A hero known as Yaj Yuam used his crossbow and copper arrows to shoot downwardly all the suns with the exception of one that got scared and went into hiding. At present in that location was no daylight, which also caused problems for the people. Yawm Saub called all of the animals on earth to come together for a meeting to call out the final remaining sunday. The animals tried, but they couldn't telephone call the sunday to come out. When Information technology was the rooster'south plough, he crowed for the sun to come out. In response to the rooster, the hiding lord's day came out. From that time on, every morning earlier the lord's day rises above the horizon, roosters crow. To the Hmong, this crowing is a signal that it is time to wake up, get out of bed, and commencement the day. Sold by Khoua Thao, Thailand, 1990, 23x26 cm Photo by Noah Vang, item at the Hmong Archives
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EA9: The pictured animals in this piece are water buffaloes. They are depicted in a fight. Throughout the year, these animals piece of work with farmers in the rice paddies and plow the subcontract state. However, in the months of Nov to Dec, bulls are used for bull fighting in the Hmong New year's day celebration as amusement. Bulls with considerable forcefulness are valuable and are a source of great pride among Hmong men. Darning and running stiches were used in this tapestry. Past an unknown artist, 1980s, 23x38 cm Photo by Xai S. Lor, particular at the Hmong Athenaeum
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EA10: This animal embroidery book features basic words for animals in three different languages: English, Hmong, and Lao. The embroidery method used involved a type of darning along with running stitches. Cotton thread in vibrant colors was embroidered onto a cotton material. The giraffe that is featured is an African animal, simply as well appears in some Hmong fauna paj ntaub pieces. By Ziag Yaj, Laos, 2012, 14x16 cm Photo by Xai South. Lor, particular at the Hmong Archives
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