Silk, The Beauty Of A Thousand Years

　　 Silk Also known as "silk", "Ke Si" and "Ke Si", is the most traditional Chinese silk weaving. In appearance, there are no differences between silk fabrics and common fabrics. However, the process of weaving silk has many special characteristics. It is called "saint in weaving". Because of its ingenious techniques, expensive labor and expensive timber, people used it to be equivalent to gold value in the past dynasties. In ancient times, there was such a statement as "silk..." Like a woman's coat, she will be all the year round.

　 Beautiful gone

It has been thousands of years ago. According to the data of archaeological unearthed, during the pre Qin period, the Xinjiang area began to produce woolen fabrics, woolen as raw materials. At least in the Sui and Tang Dynasties, China began to make silk, and the Grottoes in Dunhuang grottoes were mostly geometric patterns and gorgeous coloring. In the Song Dynasty, the main production areas of silk were concentrated in the Dingzhou area. Most of them were works of calligraphy and painting, which were copied and painted by famous artists. They were elegant in color, exquisite in technique and realistic in expression. Song Emperor Hui Zong (Zhao Ji) of the Northern Song Dynasty once wrote a poem for him. We must know that we should be publicity objects. The silk that Song Huizong mentioned in the seven character poem is silk.

"De Yan Rong Gong" is the four major criterion for evaluating women in ancient times. Not only does the needlework reflect women's ingenuity, but also they can cultivate their mood and mind in the spirit of peace and tranquilizing, and extract their temperament. In history, there are many odd women who are famous for their "work" and are famous for the history of the Qing Dynasty. For example, Mrs. Zhao, a lady of the Three Kingdoms period, has three unique skills: in the fingers, the brocade is made of colored silk into dragon and Phoenix. In the first year of the Yongzhen Dynasty in the Tang Dynasty, there was a strange woman, Lu Mei Nu, who could embroider seven volumes of "Fa Hua Jing" on fourteen feet of silk. In the Ming Dynasty, Han Ximeng had Gu embroidery. In the late Qing Dynasty and the early Republic of China, Shen Shou was once introduced to the palace to teach embroidery and to study in Japan. Zhu Kerou was first born in the Southern Song Dynasty.

Before the professionalization, silk is the most time-consuming and the most exquisite of needlework. Unlike ordinary fabrics, "weaving through the weft" is different from weaving, but it is "through the broken weft". In essence, it is filled with various blocks of color on the surface and filled with various special techniques such as tie and shuttle to form a perfect piece of work.

However, good things never seem to last long. During the Northern Song Dynasty, Jin army constantly invaded and fought continuously. In the 1127, the Song Dynasty moved southward and built capital Ling'an (Zhejiang Hangzhou), which was called the Southern Song Dynasty. At that time, a large number of craftsmen (handicraftsmen) moved southward along with the political, economic and cultural centers of Song Dynasty. In the Yuan Dynasty, the whole silk industry was once down, and one of them was fading out of history.

　　 Unremitting persistence

In modern times, industrialists in Nantong Zhang Jian Mr. right. Nantong silk In particular, she founded the "women workers' Institute" in August 1914, which opened the precedent of modern Chinese women's vocational education. After the completion of the women's work, Zhang Jian invited Ms. Shen Shou, a modern embroidery master, to be the director and teacher of the female worker's school. Meanwhile, Zhang Jian recruited Tang Changyun and other craftsmen from Shen Gong's husband Yu Jue from the palace building office. By 1918, the slum silk of the poor workshops had already begun to take shape, and the embroidery of weaving silk and women's workshops was called "Tong Fu" and "Tong Xiu" respectively. Zhang Jian later placed "Tong Fu" in the offices of Nantong embroidery weaving Bureau in Shanghai, New York, France, Switzerland and Italy for sale.

Under Zhang Jian's unremitting efforts, Nantong's silk again appeared. In 1918, an advertisement was published in the "Tonghai newspaper" of the Nantong women workers' workshop. "The exhibition room is now displayed on the wall, and has been displayed and attached to the silk products of the poor workshops for display and sale. We should spare less students and place more orders, so that the export has not been properly prepared. After that, Zhang Jian had already had Nantong silk in gifts to his relatives and friends. For example, in November 23, 1919, he wrote to Zhao Fengchang: "knowing your son, uncle Yong is on the line." Nantong's poor workshops, such as silk, cane and bamboo, can be studied in fine arts, and the finished products are quite elegant. There are two kinds of pendant, the title and the title. The system is not good enough, but fortunately, it is more fortunate to instruct it to achieve it. Congratulations! That is to invite Tai An to celebrate the first time. In 1918, the gifts to Li Chun, a Jiangsu governor, also included gifts such as "Tong Xiu, Tong Zhu".

At that time, China's war was frequent, and in a corner of Nantong, Zhang Jian used his unremitting persistence to retain the traditional silk craft, and presented Nantong's silk very well to the world. {page_break}

　 The continuation of ups and downs

In the ups and downs of development, Nantong silk has been hidden in Nantong's local weaving, and has not done much. Until 1979, Wang Yu Xiang After entering Nantong arts and Crafts Institute, Nantong's silk has been shown to the world again. Wang Yuxiang, who is now the director of the Research Institute of Xuan he silk, was born in a textile family. His grandparents opened a weaving workshop in the Qing Dynasty. At the end of Qing Dynasty, they were invited to Nantong as a textile expert. His family lived in the old workshop of Dasheng mill, which was founded by Zhang Jian in 1895. Both his parents and his elder sister were weaving workers at Dasheng cotton mill. When he was a child, he often ran through the workshop of Dasheng mill and had some innate savvy on the weaving of weft and weft.

In the late 80s of last century, because of the structural reform of the Nantong Institute of Arts and crafts, Wang Yuxiang did not want to see that the technology of song silk, which had just been restored, was submerged under the tide of economy. He had already invested in a silk mill and built up a real economic market to nourish the millennium. Chinese stunt 。

"I have received more than 100 apprentices, and more than half of them have gone away, leaving behind all those who are deeply in love with him." It is not difficult to learn the initial stage of technology, but basic skills can be learned from a few months to a year, but if you really want to master it, there will be no 35 years. In the early days of reform and opening up, a large number of people began to learn this technique in order to earn their living. This also led Wang Yuxiang to reflect on the management mode of the Research Institute. He abolished the popular wage based piecework wage and fixed wage plus bonus in order to ensure the economic source of the silk workers and retain the talents with the attraction of no worries. After all, retention of talent is the most urgent topic in this industry that attracts more and more young people.

Such a business model also brought great pressure to Wang Yuxiang. She became the cause of the whole family. Her daughter-in-law, daughter, grandson, and the whole family were at risk of losing their fortune to run the increasingly depressed handicraft industry, all because of Wang Yuxiang's hard words: "the family is sinking."

Adhering to the power embodied in it finally achieved results. Wang Yuxiang was absorbed by the United Nations folk art international organization as a member. In 2008, the national luxury brand also extended olive branches to him and invited him to stretch his skills in the Chinese silk series. Finally, Wang Yuxiang, a national treasure of traditional silk technology, ascended the stage of China International Fashion week. Wang Yuxiang, who was over seventy years old, was excited by this. The method of combining fashion with him enabled him to find the vitality of old silk's survival. The continuous development of the social economy also made this luxurious and expensive old craft flow again in the market.

The reporter saw the youngest inheritor in the family, Wang Yuxiang, who was only 24 years old. He was Wang Yuxiang's grandson. Wang Yuxiang's pursuit of his life deeply touched Wang Haoran. Wang Haoran, now working with the United Nations folk art international organization, intends to set up a training base for the needlework in Jiangsu, with a small scale. It aims to extend and deepen the establishment of the 1914 female workers' Institute. If I hadn't seen it, it would be hard to believe that a 24 year old boy could gather a group of young people to study traditional silk culture. Wang Haoran, however, had the courage to say that he would take the burden and carry forward his culture.