-Guang Embroidery Man- Wang Xinyuan- Using needle and thread as pen and ink to embroider the beauty of bronze ware

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**Interview with Wang Xinyuan: The “Embroidery Master” Capturing the Beauty of Bronze with Needle and Thread**

By Qiu Xia Sun, China News Service

As I sat down with Wang Xinyuan, the innovative embroidery artist, he unveiled his first piece of broad embroidery—an intricate depiction of the Spring and Autumn Dynasty’s lotus crane square kettle. The artwork, layered with thousands of colors on black fabric, brings to life the essence of bronze age artistry. The delicate textures and the kettle’s weathered surface create a sense of historical depth, while the crane at the top seems poised to take flight, making the piece resemble a vibrant oil painting from a distance.

Wang, a young inheritor of the intangible cultural heritage of broad embroidery, has broken traditional boundaries in his themes and techniques. He has started incorporating bronze vessels, animals, and even comic art into his embroidery, expanding the artistic expression of this ancient craft.

“Traditional broad embroidery primarily draws on themes from the Lingnan painting style, but I have always wanted to challenge myself,” Wang remarked during our recent interview. “Since 2006, I’ve focused on embroidering bronze artifacts, aiming to breathe life into these museum pieces using my embroidery skills.”

Originating from Guangzhou and part of the Pearl River Delta’s rich embroidery tradition, broad embroidery is one of China’s four famous embroidery styles and has a history spanning over a thousand years. Known for its strong Lingnan characteristics and western influences, this craft was once at the forefront of fashion in Europe and America.

Wang Xinyuan, an “80s kid” from a family of tailors, started learning embroidery at the tender age of five. By thirteen, he was already capable of creating his preferred designs on silk. His passion for broad embroidery ignited the moment he encountered it in Guangzhou after serving in the military. “After returning from service in 2001, I visited the Chen Clan Ancestral Hall and saw exquisite portraits by my mentor, Wu Yuzhen. The level of detail captivated me,” he recalled.

Broad embroidery techniques involve five main stitches: “nail, pad, piece, stitch, and lay.” Wang believes the techniques themselves are not inherently complex; the real challenge lies in mastering their integration. “The stitches are the foundation, while the stitching method is the soul of the artwork,” he explained.

Wang’s love for his craft often inspires his projects. After visiting the Henan Museum and seeing the lotus crane square kettle, he was struck by the beauty of its ornate designs, prompting him to explore embroidering bronze artifacts. “I spent six months planning and a year and a half on the actual embroidery. The toughest part was color coordination; typically, a broad embroidery piece requires about a hundred colors, but for bronze artifacts, that wasn’t enough. I had to layer colors to achieve the desired effect,” he shared.

With the successful completion of his first bronze piece, Wang embarked on a series of works featuring different bronze artifacts, such as the beast face pattern square cup and the Western Zhou Song Ding. Each piece features unique stitching techniques and color palettes totaling in the hundreds or even thousands.

Now, Wang is venturing into animal motifs, particularly horses, creating dynamic images with rich colors and lifelike expressions. “The eyes and demeanor are the hardest aspects to capture; the natural flow of colors and richness of hues determine the success of a piece,” he emphasized.

Broad embroidery thrived from the late Ming to mid-Qing Dynasties, but it has seen a decline in recent years due to competition from machine embroidery. Wang noted this market contraction has led many artisans to switch careers.

“Currently, broad embroidery faces the challenge of an aging workforce. I’m contemplating ways to attract younger individuals to carry on the tradition, which is a primary focus for me,” he stated.

To promote broad embroidery culture, Wang established a heritage base offering classes and workshops in schools and communities, encouraging younger generations to engage with this craft. He is also collaborating with vocational colleges to create a structured pathway for training in non-material cultural heritage.

In recent years, Wang has taken broad embroidery international, conducting workshops in countries including France, Italy, Germany, Switzerland, New Zealand, Indonesia, and Serbia, drawing interest from local participants. “I aspire for every country to have a broad embroidery heritage base so that the tradition doesn’t face extinction,” he expressed.

While constantly innovating within the medium, Wang and his team have expanded their offerings to include accessories like jewelry, sachets, scarves, ties, and fans adorned with broad embroidery, making the art accessible and consumable for the general public.

Wang Xinyuan’s journey from a soldier to an embroidery master reflects a profound identity shift. He remarked, “In the past, I held a gun to protect my country; now, I wield a needle as a warrior of cultural heritage.”