The Cultural Narrative Of Batik In Guiding

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Yuan Zaixiang picked up a pile of batik embroidered clothes from the house, put them on the bench, and stood looking at us from afar.

The batik clothes were glamorous in the sunlight. We picked up our clothes and looked at them. The clothes, skirts, headbands and back dolls were also placed on the stove in the middle of the house.

Clothes rarely seem to be cleaned and have a faint mildew smell, but this does not mean that women are not making batik or wearing their own.

And Ren Xiaodong, Professor of Karst College of Guizhou Normal University in South China, went to Guiding to see the original intention of batik, and went to a village to see it as a long-term Anthropological Observation and research point.

This day is not a time when there are festivals or ceremonies in the village. Everything seems so plain, but it is settled in the plain countryside.

Everything is so real, we want to observe the national life style in this real context.

On the freeway that we drove to, we saw that the women in the Miao batik dress swayed the batik skirts of the homespun, and passed by in a flash.

Many years ago, we bought such a dress in Kaili. It was touched by the simple simplicity.

This is the day when the county is on sale. When we visit the old city, we can still see some traditional Miao women wearing traditional villages.

Before coming, Luo Guirong, the Propaganda Department of the county Party committee, helped me to find out that a woman was still selling batik in the county seat. Her name was He Daoling.

More than 20 years ago, He Daoling served as secretary of the township party committee.

Later, when she moved to the county seat with her husband, it was hard to find a formal job, so she began to pick up all kinds of ethnic products to pfer to the county seat.

Coming to He Daoling's house, a 6 story building, we watched her take out an old batik from the modernized bedroom, dozens of embroidery and batik clothes, all traditional patterns.

He Daoling took them under the sun under the bed. We looked at them one by one and took pictures one by one.

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The clothes with batik and embroidery patterns are traditional, and she has not sold them out, "because no one in the locality likes traditional ones". Instead, He Daoling finds that the new dress made of new technology is widely favored.

In general, He Daoling repaired the pattern, spent 50 yuan on the cost of weaving embroidery pieces with machines, and then found a lot of prints on the computer according to the pattern design pattern. She took embroidery pieces as a template and spent a day sewing the embroidery pieces with sewing machines in all parts of the clothes.

This machine embroidered.

We were not moved by the embroidered clothes embroidered by the new machine. We looked at every traditional pattern, and looked at the doll bags, headbands, straps and so on.

He Daoling's niece paints a wax painting to her. It is called a funeral device in the local area and is used to cover up the body after death.

We are fascinated by the patterns and colors of batik.

Why did anyone in their 40 year old get ready for the burial device? He Daoling saw our doubts and told us that the painting would take a long time. This picture was taken by niece when she came back from university to take a vacation.

He Daoling hopes to find a bigger market to sell traditional things. She has connections with many Miao villages, including many villages where she used to live. Many women are making batik products and have great potential for production.

They expect the batik market to be bigger, sell more products, and supplement their families.

Although it is the best season for wax and wax to be painted in June and July every year, when we go to the village, many Hmong women are still making batik works. During this period, we concentrated on the work and even made enough clothes for a year.

In the village, we visited several families, and many women who made wax paintings were not at home.

Yuan Zaixiang has just returned from his working place in Guangdong, and will do a full set of batik dress, but she has not done it for a long time.

In the process of modernization and globalization, many material and non-material cultures are facing severe challenges. The material forms of architecture, clothing, handicraft products and so on are disappearing, and the cultural symbols full of national religious and ceremonial culture are still being strongly studied in the countryside.

The batik skills and costumes of Miao women in Guiding county are well preserved, which are related to economic development, and also reflect the integrity of national culture preservation in the region.

Another explanation is that the ceremonial culture that may be carried out by batik technology enables it to make decisive choice of internal cultural identity in the face of modern industrial civilization and to adapt itself to the modernization process of self centred.

Undoubtedly, when the national culture goes from "edge" to "central",

The village is already covered with concrete houses, and many details of the culture remain inside.

We don't know whether we will come back or look for the cultural symbols that are fading away.

Perhaps, we have to go back and sit down slowly and listen to their cultural narrative.