![Elegant wallet holds up to 16 credit cards. Embroidered on both sides
Hmong textile art (RPA:Paj ntau or Paj ntaub, or "flower cloth" in the Hmong language; sometimes transliterated as pa ntau) consists of textile arts traditionally practiced by Hmong people. Closely related to practices of other ethnic minorities in China, the embroidery consists of bold geometric designs often realized in bright, contrasting colors. Different patterns and techniques of production are associated with geographical regions and cultural subdivisions within the global Hmong community.[1] For example, White Hmong are typically associated with reverse appliqué while Green Mong are more associated with batik. Since the mass exodus of Hmong refugees from Laos following the end of the Secret War, major stylistic changes occurred, strongly influenced by the tastes of the Western marketplace. Changes included colors that are more subdued and the invention of a new form of paj ndau often referred to as "story cloths." Because Hmong language did not become alphabetized until 1950, many Hmong refugees did not record their histories in writing.[2] These “story cloths” became a recording and expression of both individual and collective experiences including trauma and loss across generations.[2]
These cloths, ranging in size up to several square feet, use figures to represent stories from Hmong history and folklore in a narrative form. Today, the practice of embroidery continues to be passed down through generations of Hmong people and paj ndau remain important markers of Hmong ethnicity. While traditional designs are not an alphabet in any strict linguistic definition, the patterns were a shared visual language or alternative text that fellow Hmong understood and that were important in the ritual functions of paj ndaub.[3]
Traditionally, paj ndau were applied to skirts worn for courtship during New Year festivals, as well as baby-carriers, and men's collars. The core visual elements of "layered bands of appliqué, triangles, squares tilted and superimposed on contrasting, squares, lines and dots, spirals, and crosses." The use of border patterns may show the influence of Chinese embroidery techniques.
Sorry, we are not able to give any additional markdowns on Hmong pieces.](https://cdn11.bigcommerce.com/s-ady1sc0gyi/images/stencil/600x600/products/285/1078/IMG_4591__30362.1566255553.JPG?c=2 "Elegant wallet holds up to 16 credit cards. Embroidered on both sides
Hmong textile art (RPA:Paj ntau or Paj ntaub, or \"flower cloth\" in the Hmong language; sometimes transliterated as pa ntau) consists of textile arts traditionally practiced by Hmong people. Closely related to practices of other ethnic minorities in China, the embroidery consists of bold geometric designs often realized in bright, contrasting colors. Different patterns and techniques of production are associated with geographical regions and cultural subdivisions within the global Hmong community.[1] For example, White Hmong are typically associated with reverse appliqué while Green Mong are more associated with batik. Since the mass exodus of Hmong refugees from Laos following the end of the Secret War, major stylistic changes occurred, strongly influenced by the tastes of the Western marketplace. Changes included colors that are more subdued and the invention of a new form of paj ndau often referred to as \"story cloths.\" Because Hmong language did not become alphabetized until 1950, many Hmong refugees did not record their histories in writing.[2] These “story cloths” became a recording and expression of both individual and collective experiences including trauma and loss across generations.[2]
These cloths, ranging in size up to several square feet, use figures to represent stories from Hmong history and folklore in a narrative form. Today, the practice of embroidery continues to be passed down through generations of Hmong people and paj ndau remain important markers of Hmong ethnicity. While traditional designs are not an alphabet in any strict linguistic definition, the patterns were a shared visual language or alternative text that fellow Hmong understood and that were important in the ritual functions of paj ndaub.[3]
Traditionally, paj ndau were applied to skirts worn for courtship during New Year festivals, as well as baby-carriers, and men's collars. The core visual elements of \"layered bands of appliqué, triangles, squares tilted and superimposed on contrasting, squares, lines and dots, spirals, and crosses.\" The use of border patterns may show the influence of Chinese embroidery techniques.
Sorry, we are not able to give any additional markdowns on Hmong pieces.")
![Elegant wallet holds up to 16 credit cards. Embroidered on both sides
Hmong textile art (RPA:Paj ntau or Paj ntaub, or "flower cloth" in the Hmong language; sometimes transliterated as pa ntau) consists of textile arts traditionally practiced by Hmong people. Closely related to practices of other ethnic minorities in China, the embroidery consists of bold geometric designs often realized in bright, contrasting colors. Different patterns and techniques of production are associated with geographical regions and cultural subdivisions within the global Hmong community.[1] For example, White Hmong are typically associated with reverse appliqué while Green Mong are more associated with batik. Since the mass exodus of Hmong refugees from Laos following the end of the Secret War, major stylistic changes occurred, strongly influenced by the tastes of the Western marketplace. Changes included colors that are more subdued and the invention of a new form of paj ndau often referred to as "story cloths." Because Hmong language did not become alphabetized until 1950, many Hmong refugees did not record their histories in writing.[2] These “story cloths” became a recording and expression of both individual and collective experiences including trauma and loss across generations.[2]
These cloths, ranging in size up to several square feet, use figures to represent stories from Hmong history and folklore in a narrative form. Today, the practice of embroidery continues to be passed down through generations of Hmong people and paj ndau remain important markers of Hmong ethnicity. While traditional designs are not an alphabet in any strict linguistic definition, the patterns were a shared visual language or alternative text that fellow Hmong understood and that were important in the ritual functions of paj ndaub.[3]
Traditionally, paj ndau were applied to skirts worn for courtship during New Year festivals, as well as baby-carriers, and men's collars. The core visual elements of "layered bands of appliqué, triangles, squares tilted and superimposed on contrasting, squares, lines and dots, spirals, and crosses." The use of border patterns may show the influence of Chinese embroidery techniques.
Sorry, we are not able to give any additional markdowns on Hmong pieces.](https://cdn11.bigcommerce.com/s-ady1sc0gyi/images/stencil/1280x1280/products/285/1078/IMG_4591__30362.1566255553.JPG?c=2 "Elegant wallet holds up to 16 credit cards. Embroidered on both sides
Hmong textile art (RPA:Paj ntau or Paj ntaub, or \"flower cloth\" in the Hmong language; sometimes transliterated as pa ntau) consists of textile arts traditionally practiced by Hmong people. Closely related to practices of other ethnic minorities in China, the embroidery consists of bold geometric designs often realized in bright, contrasting colors. Different patterns and techniques of production are associated with geographical regions and cultural subdivisions within the global Hmong community.[1] For example, White Hmong are typically associated with reverse appliqué while Green Mong are more associated with batik. Since the mass exodus of Hmong refugees from Laos following the end of the Secret War, major stylistic changes occurred, strongly influenced by the tastes of the Western marketplace. Changes included colors that are more subdued and the invention of a new form of paj ndau often referred to as \"story cloths.\" Because Hmong language did not become alphabetized until 1950, many Hmong refugees did not record their histories in writing.[2] These “story cloths” became a recording and expression of both individual and collective experiences including trauma and loss across generations.[2]
These cloths, ranging in size up to several square feet, use figures to represent stories from Hmong history and folklore in a narrative form. Today, the practice of embroidery continues to be passed down through generations of Hmong people and paj ndau remain important markers of Hmong ethnicity. While traditional designs are not an alphabet in any strict linguistic definition, the patterns were a shared visual language or alternative text that fellow Hmong understood and that were important in the ritual functions of paj ndaub.[3]
Traditionally, paj ndau were applied to skirts worn for courtship during New Year festivals, as well as baby-carriers, and men's collars. The core visual elements of \"layered bands of appliqué, triangles, squares tilted and superimposed on contrasting, squares, lines and dots, spirals, and crosses.\" The use of border patterns may show the influence of Chinese embroidery techniques.
Sorry, we are not able to give any additional markdowns on Hmong pieces.")
![Please email your selection by color and style of embroidery. Example Turquoise with hearts, or purple with swirls. Each one is unique.
Hmong textile art (RPA:Paj ntau or Paj ntaub, or "flower cloth" in the Hmong language; sometimes transliterated as pa ntau) consists of textile arts traditionally practiced by Hmong people. Closely related to practices of other ethnic minorities in China, the embroidery consists of bold geometric designs often realized in bright, contrasting colors. Different patterns and techniques of production are associated with geographical regions and cultural subdivisions within the global Hmong community.[1] For example, White Hmong are typically associated with reverse appliqué while Green Mong are more associated with batik. Since the mass exodus of Hmong refugees from Laos following the end of the Secret War, major stylistic changes occurred, strongly influenced by the tastes of the Western marketplace. Changes included colors that are more subdued and the invention of a new form of paj ndau often referred to as "story cloths." Because Hmong language did not become alphabetized until 1950, many Hmong refugees did not record their histories in writing.[2] These “story cloths” became a recording and expression of both individual and collective experiences including trauma and loss across generations.[2]
These cloths, ranging in size up to several square feet, use figures to represent stories from Hmong history and folklore in a narrative form. Today, the practice of embroidery continues to be passed down through generations of Hmong people and paj ndau remain important markers of Hmong ethnicity. While traditional designs are not an alphabet in any strict linguistic definition, the patterns were a shared visual language or alternative text that fellow Hmong understood and that were important in the ritual functions of paj ndaub.[3]
Traditionally, paj ndau were applied to skirts worn for courtship during New Year festivals, as well as baby-carriers, and men's collars. The core visual elements of "layered bands of appliqué, triangles, squares tilted and superimposed on contrasting, squares, lines and dots, spirals, and crosses." The use of border patterns may show the influence of Chinese embroidery techniques.
Sorry, we are not able to give any additional markdowns on Hmong pieces.](https://cdn11.bigcommerce.com/s-ady1sc0gyi/images/stencil/1280x1280/products/285/1645/hmong_wallets__09677.1566255553.JPG?c=2 "Please email your selection by color and style of embroidery. Example Turquoise with hearts, or purple with swirls. Each one is unique.
Hmong textile art (RPA:Paj ntau or Paj ntaub, or \"flower cloth\" in the Hmong language; sometimes transliterated as pa ntau) consists of textile arts traditionally practiced by Hmong people. Closely related to practices of other ethnic minorities in China, the embroidery consists of bold geometric designs often realized in bright, contrasting colors. Different patterns and techniques of production are associated with geographical regions and cultural subdivisions within the global Hmong community.[1] For example, White Hmong are typically associated with reverse appliqué while Green Mong are more associated with batik. Since the mass exodus of Hmong refugees from Laos following the end of the Secret War, major stylistic changes occurred, strongly influenced by the tastes of the Western marketplace. Changes included colors that are more subdued and the invention of a new form of paj ndau often referred to as \"story cloths.\" Because Hmong language did not become alphabetized until 1950, many Hmong refugees did not record their histories in writing.[2] These “story cloths” became a recording and expression of both individual and collective experiences including trauma and loss across generations.[2]
These cloths, ranging in size up to several square feet, use figures to represent stories from Hmong history and folklore in a narrative form. Today, the practice of embroidery continues to be passed down through generations of Hmong people and paj ndau remain important markers of Hmong ethnicity. While traditional designs are not an alphabet in any strict linguistic definition, the patterns were a shared visual language or alternative text that fellow Hmong understood and that were important in the ritual functions of paj ndaub.[3]
Traditionally, paj ndau were applied to skirts worn for courtship during New Year festivals, as well as baby-carriers, and men's collars. The core visual elements of \"layered bands of appliqué, triangles, squares tilted and superimposed on contrasting, squares, lines and dots, spirals, and crosses.\" The use of border patterns may show the influence of Chinese embroidery techniques.
Sorry, we are not able to give any additional markdowns on Hmong pieces.")
![Hmong textile art (RPA:Paj ntau or Paj ntaub, or "flower cloth" in the Hmong language; sometimes transliterated as pa ntau) consists of textile arts traditionally practiced by Hmong people. Closely related to practices of other ethnic minorities in China, the embroidery consists of bold geometric designs often realized in bright, contrasting colors. Different patterns and techniques of production are associated with geographical regions and cultural subdivisions within the global Hmong community.[1] For example, White Hmong are typically associated with reverse appliqué while Green Mong are more associated with batik. Since the mass exodus of Hmong refugees from Laos following the end of the Secret War, major stylistic changes occurred, strongly influenced by the tastes of the Western marketplace. Changes included colors that are more subdued and the invention of a new form of paj ndau often referred to as "story cloths." Because Hmong language did not become alphabetized until 1950, many Hmong refugees did not record their histories in writing.[2] These “story cloths” became a recording and expression of both individual and collective experiences including trauma and loss across generations.[2]
These cloths, ranging in size up to several square feet, use figures to represent stories from Hmong history and folklore in a narrative form. Today, the practice of embroidery continues to be passed down through generations of Hmong people and paj ndau remain important markers of Hmong ethnicity. While traditional designs are not an alphabet in any strict linguistic definition, the patterns were a shared visual language or alternative text that fellow Hmong understood and that were important in the ritual functions of paj ndaub.[3]
Traditionally, paj ndau were applied to skirts worn for courtship during New Year festivals, as well as baby-carriers, and men's collars. The core visual elements of "layered bands of appliqué, triangles, squares tilted and superimposed on contrasting, squares, lines and dots, spirals, and crosses." The use of border patterns may show the influence of Chinese embroidery techniques.
Sorry, we are not able to give any additional markdowns on Hmong pieces.](https://cdn11.bigcommerce.com/s-ady1sc0gyi/images/stencil/1280x1280/products/285/1658/440px-Hmong_girls_in_Laos_1973_2__84822.1566255553.jpg?c=2 "Hmong textile art (RPA:Paj ntau or Paj ntaub, or \"flower cloth\" in the Hmong language; sometimes transliterated as pa ntau) consists of textile arts traditionally practiced by Hmong people. Closely related to practices of other ethnic minorities in China, the embroidery consists of bold geometric designs often realized in bright, contrasting colors. Different patterns and techniques of production are associated with geographical regions and cultural subdivisions within the global Hmong community.[1] For example, White Hmong are typically associated with reverse appliqué while Green Mong are more associated with batik. Since the mass exodus of Hmong refugees from Laos following the end of the Secret War, major stylistic changes occurred, strongly influenced by the tastes of the Western marketplace. Changes included colors that are more subdued and the invention of a new form of paj ndau often referred to as \"story cloths.\" Because Hmong language did not become alphabetized until 1950, many Hmong refugees did not record their histories in writing.[2] These “story cloths” became a recording and expression of both individual and collective experiences including trauma and loss across generations.[2]
These cloths, ranging in size up to several square feet, use figures to represent stories from Hmong history and folklore in a narrative form. Today, the practice of embroidery continues to be passed down through generations of Hmong people and paj ndau remain important markers of Hmong ethnicity. While traditional designs are not an alphabet in any strict linguistic definition, the patterns were a shared visual language or alternative text that fellow Hmong understood and that were important in the ritual functions of paj ndaub.[3]
Traditionally, paj ndau were applied to skirts worn for courtship during New Year festivals, as well as baby-carriers, and men's collars. The core visual elements of \"layered bands of appliqué, triangles, squares tilted and superimposed on contrasting, squares, lines and dots, spirals, and crosses.\" The use of border patterns may show the influence of Chinese embroidery techniques.
Sorry, we are not able to give any additional markdowns on Hmong pieces.")
Product Overview
This wallet design holds up to 16 credit cards and two zippers will store your valuables in a nice flat design.
Hand Made Purses from Hmong refugees who have made their livelihood making these purses. Each one is a work of art. Each is unique.
Choose a favorite color and I can send you one that suits you, or be surprised. I am also able to send you a photo of an assortment and you can choose which one you like.
Hmong textile art (RPA:Paj ntau or Paj ntaub, or "flower cloth" in the Hmong language; sometimes transliterated as pa ntau) consists of textile arts traditionally practiced by Hmong people. Closely related to practices of other ethnic minorities in China, the embroidery consists of bold geometric designs often realized in bright, contrasting colors. Different patterns and techniques of production are associated with geographical regions and cultural subdivisions within the global Hmong community.[1] For example, White Hmong are typically associated with reverse appliqué while Green Mong are more associated with batik. Since the mass exodus of Hmong refugees from Laos following the end of the Secret War, major stylistic changes occurred, strongly influenced by the tastes of the Western marketplace. Changes included colors that are more subdued and the invention of a new form of paj ndau often referred to as "story cloths." Because Hmong language did not become alphabetized until 1950, many Hmong refugees did not record their histories in writing.[2] These “story cloths” became a recording and expression of both individual and collective experiences including trauma and loss across generations.[2]
These cloths, ranging in size up to several square feet, use figures to represent stories from Hmong history and folklore in a narrative form. Today, the practice of embroidery continues to be passed down through generations of Hmong people and paj ndau remain important markers of Hmong ethnicity. While traditional designs are not an alphabet in any strict linguistic definition, the patterns were a shared visual language or alternative text that fellow Hmong understood and that were important in the ritual functions of paj ndaub.[3]
Traditionally, paj ndau were applied to skirts worn for courtship during New Year festivals, as well as baby-carriers, and men's collars. The core visual elements of "layered bands of appliqué, triangles, squares tilted and superimposed on contrasting, squares, lines and dots, spirals, and crosses." The use of border patterns may show the influence of Chinese embroidery techniques.
Sorry, we are not able to give any additional markdowns on Hmong pieces.