There are two basic forms of traditional clothing, namely, upper garment system and garment system. According to legend, the system of coat under coat originated from the legendary era of the Yellow Emperor. Under the copula of "Yi", it says: "The Yellow Emperor and Yao Shun hang down their clothes and rule the world, covering all the dry Kun." This legend can be confirmed in the pottery paintings of painted pottery culture unearthed in Gansu. This can be said to be the basic form of the earliest clothing system in China. According to Shi Ming Shi Fu, the clothing system under the coat reads: "Anyone who wears Japanese clothing. Clothes, rely on it, people rely on it to avoid cold and heat. Jean. The dress is also an obstacle, so it is self-enclosed. " The shape of the coat is mostly cross collar and right collar, and the lower skirt is similar to the shape of an apron, with a waist tie and a lower tie. This dress system has a great influence on later generations.
Even clothes, called deep clothes in ancient times, were founded in the Zhou Dynasty. "The Book of Rites Deep Clothes" notes: "Those who are named deep clothes are clean clothes." Deep clothes are similar in structure to contemporary dresses. The hem of the coat is sewn at the waist, and the collar, sleeves and hem are made of other fabrics or embroidered edges. The shape of deep clothing influenced the clothing of later generations, which was used as a dress by Ming women in Han dynasty, and also adopted this form of clothing attachment in ancient robes and shirts. Even today's dresses are the evolution of the deep clothing system.
Second, the evolution of traditional costumes in China.
1, Huaxia costumes in Xia, Shang and Zhou Dynasties
Although some archaeological data have been found in the costume patterns of primitive times, there are too few materials to explain the costumes of that period in detail. During the Xia, Shang and Zhou dynasties, the costumes of Chinese people in the Central Plains were a coat with a skirt and a right shirt. The stone statue of slave owner unearthed in Anyang, Henan Province, wears a flat hat, a right collar, a skirt, a big belt around the waist, leggings and pointed shoes. This roughly reflects the situation of Shang Dynasty costumes. In the early Zhou Dynasty, the system of rites and music made detailed provisions on the system of crown clothing for nobles and civilians, and the rulers showed their dignity and majesty with strict grade clothing. Deep clothing and coronation clothing began in the Zhou Dynasty, which had a far-reaching impact on later generations.
2. The appearance of Khufu in the Spring and Autumn Period.
The most important changes in costumes during the Spring and Autumn Period and the Warring States Period were the popularity of deep clothes and the appearance of Hu clothes. The war in the Spring and Autumn Period and the Warring States Period promoted the reform of Dai Bo to take off his coat, long skirt and robe. King Wuling of Zhao broke through the resistance for the fighting capacity of the army, ordered the whole country to wear nomadic shorts and trousers, learned to ride and shoot, and finally made Zhao strong. This was the first clothing reform in China's history, and Khufu became very popular from then on. Along with Khufu, there is a hook to end the belt. Because it is more convenient than tying a belt, it quickly became popular.
Related knowledge: "Hu" is a vague term. In different historical periods, it sometimes refers to Xiongnu, sometimes refers to nomadic people from northeast to northwest, and sometimes it is even broader. So Hu Fu refers to the costumes of nomadic people in northern China. They wear narrow-sleeved jackets, trousers and boots to meet the needs of nomadic riding. Shen Kuo said: "China has been wearing Hu clothes since the Northern Qi Dynasty." The word "du" may be a bit excessive, but Khufu did have a great influence on the development of Han costumes.
3. The establishment of the traditional crown service system in Han Dynasty.
Deep clothing was still very popular in the Han Dynasty, which was the period when the traditional crown clothing system was established. Pants in the Han dynasty were crotch-opening, and pants were called crotch in ancient times. Said: "Yi, faithfulness also." "Interpretation of Names and Clothes": "If you pay, you will pay two shares." It can be seen that the crotch was open at that time, and the outer cover was a petticoat or a deep coat. Although full crotch pants appeared later, open crotch pants still existed for a long time.
4. The popularity of Khufu in Wei, Jin, Southern and Northern Dynasties.
Wei, Jin, Southern and Northern Dynasties is another great transformation period in the ancient costume history of China. With a large number of ethnic minorities entering the Central Plains, Hu Fu has become a common dress in society, and the clothes of ordinary people are most strongly influenced by Hu Fu. They absorbed the tight sleeves, round neck, split and other factors in Hu clothing into the original clothing. On the basis of Khufu, the Han nobles also changed it, lengthening its length, adding cuffs and trousers, and changing the left leg into the right leg. But this kind of clothing is still the traditional form of Han nationality clothing.
5. The changing period of clothing in Sui and Tang Dynasties.
During the Sui and Tang Dynasties, due to the political and economic stability and prosperity, it was able to inherit the origin of historical costumes and enlighten the clothing system of later generations. Therefore, this period has become an important historical period for the development of ancient Chinese clothing system. Men's uniforms are hoes, robes and boots. However, the gown at this time is slightly different from the previous dynasty, with round neck, right collar, narrow sleeves and no collar edge. In addition, there are robes, crotch-less robes and other styles. This kind of dress was mainly influenced by Khufu and combined with the living habits and etiquette characteristics of the Han nationality, which formed the dress style of this period.
6. Clothing in Song Dynasty tends to be conservative.
The costumes in Song Dynasty generally followed the Tang system, but they were different in style and name. There are two styles of short crotch robes in Song Dynasty: wide sleeves and tight sleeves. The habit of wearing a coat and a half arm is extremely common, but neither can be worn as a dress. Generally speaking, the costumes in Song Dynasty were more formal and conservative, and the colors were not as bright as before, giving people a simple, clean and elegant feeling, which was closely related to the social situation at that time, especially the influence of Zhu Cheng Neo-Confucianism.
7. The costumes in Liao, Jin and Yuan Dynasties not only followed the dress system of the Han nationality, but also had their own national characteristics.
The costumes in Liao, Jin and Yuan dynasties have a common feature, which not only follows the dress system in Han, Tang and Song dynasties, but also has the characteristics of this nation. Men's clothing in Liao and Jin Dynasties is mostly round neck, short crotch robe with sleeves, boots or pointed boots, trousers and waist belt. Men's wear in the Yuan Dynasty included Han people's round neck, collar robe and their grandson's clothes, which were similar in shape to deep clothes and short skirts with narrow sleeves, reaching to the knees, with numerous pleats at the waist, like today's pleated skirts with horizontal pleats at the waist. Collar types include right-handed collar, square collar and disc collar. Wear pants with small mouths and sewing boots on your feet. The main colors are white, blue and ochre. In addition, great changes have taken place in the materials of clothing in the Yuan Dynasty. Due to the extensive planting of cotton, cotton cloth has become the main variety of clothing materials.
8. The clothing of Ming Dynasty inherited the previous generation, and the clothing of Qing Dynasty had a great influence on modern times.
Ming dynasty clothing generally followed the Tang system, but it also retained some styles of Song and Yuan dynasties. Clothing in Qing dynasty had a great influence on modern clothing forms. Men's wear in Qing dynasty can be divided into three types: traditional Han costumes; Manchu national costumes; Foreign clothes The style of robes in Qing Dynasty was changed on the basis of Han tradition and absorbed the characteristics of Manchu costumes. Generally, sleeves are narrow and thin, and dresses are arrow sleeves, also called horseshoe sleeves. The robe is buttoned. Right hand, round neck. The robes of the royal family have four openings, front, back, left and right, while ordinary men can only open the air left and right. Hanging horses is a unique costume in Qing Dynasty. Its styles are mostly round neck, including double lapels, large lapels and pipa lapels, long sleeves, short sleeves, large sleeves and narrow sleeves, but all of them are flat cuffs. It was not until the late Qing Dynasty and the Revolution of 1911 that the western clothing was introduced into China, which changed greatly and entered the stage of modern clothing development.
Third, ancient women's clothing and combs in China.
(A) ancient women's clothing
1, Han and Wei dynasties have obvious feminine characteristics.
Women's clothing has always been a big part of clothing, and women's clothing in China is divided into formal dress and formal dress. In the ancient three generations, women's clothing and men's clothing were basically the same, but the materials and patterns were different. Women in the Han Dynasty wore deep clothes, while uniforms were tops and skirts. Skirts are similar in shape, but women's skirts are called skirts, which shows that skirts at that time had obvious female decorative characteristics. During the Wei, Jin, Southern and Northern Dynasties, due to the influence of national costumes, women's clothing changed from a bodice without a top to a bodice with narrow sleeves, and continued to develop the trend of "frugality at the top and abundance at the bottom" since the end of the Han Dynasty, that is, the top became shorter, the skirt waist became higher and higher, and platform shoes with a thick bottom highlighted the length of women's lower body, giving people a slender aesthetic feeling.
2. The dress of women in Tang Dynasty was more open.
Women's dresses in Tang Dynasty are mainly composed of tops, skirts and silk. In the early Tang Dynasty, she wore narrow sleeves and long skirts, and wore silks similar to long scarves on her shoulders. In the heyday of the Tang Dynasty, it was also popular to wear large-sleeved shirtless shirts, which were the costumes of aristocratic women. It is characterized by not wearing underwear, the skirt waist is above the breast and tied with a big belt, thus exposing the chest. The cardigan of the big sleeve shirt adopts thin products such as leno. The so-called "skin can be seen at the front edge" is a true portrayal of this kind of clothing. This is closely related to the open mind at that time. In the Tang Dynasty, women's plump figure was beautiful, so their clothes became wider and wider. In addition, it was also popular for women to wear Hu clothes and men's clothes.
3. Women's clothing in Song Dynasty tends to be conservative.
Long sleeves were popular in women's wear in Song Dynasty, and the main characteristics of women's wear at that time were narrow, thin, long and strange. At this time, there are many styles of shirts, such as round neck, cross collar, straight collar and double-breasted buttons. The cuffs are narrow and the left and right sides of the hem are long. Generally speaking, women's clothing in Song Dynasty tended to be conservative, which was related to the social situation at that time and the influence of Neo-Confucianism in Zhu Cheng.
In Ming dynasty, women's clothes were elegant and simple.
Women's dresses in the Ming Dynasty basically followed the Tang and Song Dynasties, but the length of dresses was slightly different from time to time. Narrow-sleeved shirts, long skirts and curtains were popular in the early Ming Dynasty, but large-sleeved shirts were still needed for dresses. Long sleeves are popular in the middle period, and skirts become shorter. The prevalence of narrow-sleeved gowns in the late Ming Dynasty was related to the worship of prostitutes' clothing in the south, especially in Qinhuai area, which was imitated by all directions and characterized by elegance and simplicity.
5. Manchu and Han women's costumes in Qing Dynasty have their own characteristics and influence each other.
Manchu women in Qing Dynasty usually wore cheongsam, vest and flowerpot shoes with high heels on their soles. Han women have the saying that "men are healthy and women are unhealthy" and still follow the Ming system. After the expiration, Chinese women's clothing influenced each other and changed obviously. The imitation center of women's wear in Qing dynasty has undergone several changes, with Suzhou as the center of Qianlong, Nanjing and Yangzhou as the center of Jiaqing, and then Shanghai as the center. After the Revolution of 1911, the clothing imprisonment was broken, and with the introduction of western clothing technology, women's wear had new changes.
(2) ancient women's combs.
1, ancient women's hairstyle
The comb dress of ancient women includes three parts: hairstyle, makeup and jewelry. Hairstyle is one of the most important decorative forms of human beings, and the coordination of hairstyle and clothing can constitute the overall beauty of characters' appearance. Hair accessories in ancient China can be divided into three types: bun, knot and braid. Fu, or hairpin, appeared as early as the Neolithic Age, and since then, people have started to comb their hair from hair to hair. The quilt has two purposes: calming the hair and strengthening the crown. Hair accessories for men and women in ancient times. Not only that, but also a sign of whether ancient women got married as adults. In the ancient three generations, women's hairstyles in China were relatively simple, and there were not many ornaments. After Qin and Han Dynasties, hair accessories became more and more complicated. Since then, women's bun style has become an important decorative content. The famous styles of hair bun in the past dynasties include horse-falling bun, bun, nine-fragrant bun, double bun, concentric bun, high bun, bun, flower bun, big pull wing and so on.
2. Makeup and jewelry of ancient women
The basic cosmetics for women are eyebrow makeup, powder cake, rouge and flower bud. Eyebrows are used for thrusting. Female recruitment began in the Spring and Autumn Period and the Warring States Period. There is a saying in The Songs of the South: "White and black are used to paint incense." It's just that in ancient times, women pulled out their real eyebrows and replaced them with fake eyebrows. In addition to black, the color of the Dai people is green, which was called Cuimei in ancient times. Cuiwei originated in the pre-Qin Dynasty and flourished in the Southern and Northern Dynasties. The popularity of black eyebrows began in the Tang Dynasty, which was related to Yang Guifei's advocacy. As the saying goes, "When the new makeup is abandoned, the six palaces compete to draw black eyebrows" (Volume 474 of Complete Tang Poetry, Xu Ning's Song in the Palace). In a word, ancient women thrush advocated artificial beauty, which is different from modern women's advocating natural beauty. In ancient times, rice flour was originally made of rice flour, or red was added to the surface. It was not until the Xia, Shang and Zhou Dynasties that lead white powder and rouge with red and blue flowers and Soviet wood appeared. Rouge is also called Yan Zhi, Yan Zhi and Yan Zhi. In ancient times, rouge was made into paste and powder, and it was also coated on paper or soaked in silk floss to make rouge paper and rouge sponge, which was applied to cheeks or used as lip fat. Flower buds, also known as flower seeds and flatterers, are generally made of gold foil, paper, fishbone and dragonfly wings into ornaments of various shapes and pasted on the forehead, sideburns, cheeks or corners of the mouth. The "yellow flower" in Mulan Ci and the "yellow flower" in the ancient poem "Qing Mei" both refer to flowers. In ancient times, women's jewelry included ornaments, hairpins, walking stones, combs and so on. In addition, there are ornaments on ears, hands and fingers, which are called Erdang, pin bracelet and ring respectively, but the wearing methods and functions of these ornaments are different from the beginning.
Four, China ancient imperial costumes and official uniforms.
In ancient China, imperial costumes and official costumes can be divided into two categories: one is dress (also known as cassock), which is used for sacrifices and ceremonies, and then it is divided into sacrificial costumes, court costumes and other small categories; One is official business (also known as official service and provincial service), which is used in general formal occasions.
In the early years of the Western Zhou Dynasty, emperors and officials wore crowns with twelve decorative patterns, including the sun, the moon, stars, dragons, mountains, insects in China, Zong Yi, seaweed, fire, pink rice, flounder and salamander, and belts were tied around their waists. According to different identities and uses, coronation clothes are divided into six grades, and the color of clothes is upper metaphysics and lower ease. At that time, the official dress was a uniform, which was different from the coronation dress in that the clothes had no colorful patterns. Since then, coronation has been used as a formal dress for generations until the late Qing Dynasty.
The royal costume of the Han Dynasty is a crown suit, with a crown on the head and deep clothes. The grade differences are as follows: ① Officials with different identities wear different crowns, such as Ignace kogler's crown for civil servants, the crown for military officers and the crown for imperial officials. ② The number of crown beams is different. ③ The color and weave of ribbons are different.
During the Wei, Jin, Southern and Northern Dynasties, the official official clothes mostly followed the crown clothes of the Han Dynasty, but some changes took place, namely the popularity of hats and towels. In the Northern Zhou Dynasty, towels developed into folding heads (that is, hoes of later generations). During the Sui and Tang Dynasties, emperors and officials wore round-neck robes, hoes and boots. The grade difference lies in: ① color clothing, that is, to distinguish grades by clothing color. The emperor is a yellow robe, and officials use purple, scarlet, green and cyan as symbols respectively. ② The accessories on the belt are made of different materials, such as jade, gold, silver and iron. (3) Zhang Fu, officials in the Tang Dynasty must bring fish symbols as identification when entering or leaving the palace gate. Different grades of fish symbol packages are decorated differently. In the Song Dynasty, the formal dress was still crowned, and the general official business was to wear a hat to show off your feet. In Liao, Jin and Yuan Dynasties, the official uniforms mostly followed the old system of Han nationality, but on the whole, they still maintained the unique clothing system of the basic nationalities. People in Liao and Jin dynasties mostly wore fur hats, while people in Yuan dynasty mostly wore helmet-type folding hats. The official uniforms of the Ming Dynasty followed those of the Tang and Song Dynasties, except that officials wore official posts, and the method of distinguishing official ranks by auxiliary service was added.
In the Qing Dynasty, ethnic costumes were basically used. The robes used by the emperor for sacrifice are embroidered with twelve chapters of patterns, which are slightly ancient. Wearing a cool hat in summer and a warm hat in winter, decorated with cattle's latitude and crown beads, the emperor also rewarded people with extraordinary feats, ranging from one to three Henaan made of peacock hair. The official robes are round neck robes, horseshoe sleeves and beads. In the case of a grand ceremony, a shawl should be added to the official clothes, and auxiliary clothes should also be used. In addition to tonics, there are: ① The colors and materials of crown beads are different. (2) The belts are different. The royal family uses yellow belts, the imperial clan uses red belts, others use azurite or blue, and the jewels and buckles on the belts are also different. ③ The number of pythons on the robe is different, ranging from three to nine, from four to six to eight, and from seven to nine to five.
Five, China ancient shoe system.
Primitive man walked barefoot. With the gradual civilization of mankind, shoes came into being. In ancient times, shoes became an indispensable costume for three generations. There are many kinds of shoes in ancient times, among which the main ones are: Yan: "Ming Shi" says: "The double bottom is called Yan. This is a kind of shoe used in ceremonial occasions, so it has a double bottom and is made of wood or wax to prevent moisture and keep warm. Straw sandals are called shoes, silk shoes and Ma Xie. Among them, shoes, shoes and shoes are widely used, so they become the floorboard of all kinds of shoes. Shoes were used before the Han dynasty, and shoes were used after the Han dynasty. In addition, there is a kind of wooden soled shoes. Legend has it that it was made by Jin Wengong in the Spring and Autumn Period to commemorate the introduction of Jie. There are two kinds: flat bottom and tooth shape. Boots, called Pei in ancient times. " "Shi Ming" said: "You can cross, and every foot can cross. "Leather, with dysprosium. It is a kind of shoe system for grassland people to adapt to nomadic life. At the end of the Warring States period, King Wuling of Zhao rode and shot in Hu clothes, and this kind of shoe system was introduced to the Central Plains.
Makeup flower
[Edit this paragraph] Overview
"Makeup flower" is the most complicated variety of Yunjin, and it is also the most representative jacquard silk weaving variety with Nanjing local characteristics.
"Make-up" is the general name of knitting techniques, which first appeared in Tianshui Iceberg Record in the Ming Dynasty. It is recorded in the book that Yan Song's large number of silk fabrics include many silk fabrics with makeup flowers, such as makeup satin, makeup flowers, makeup yarn, makeup flowers, makeup silk and makeup brocade. "Cosmetic" fabrics include those with gold thread and those without gold thread.
[Edit this paragraph] function
"Make-up" fabrics are characterized by many colors and rich color changes. In the knitting method, colorful velvet tubes with different colors are adopted, and local disc knitting makeup is carried out on the pattern on the fabric, so the color matching is very free without any restrictions. The main pattern of a pattern is usually represented by secondary or tertiary colors, while some patterns are represented by monochrome (such as pedicels, leaves and buds). A cosmetic fabric can have more than a dozen colors, even twenty or thirty colors. Although there are many colors used in cosmetic flowers, they can all be treated in a complex, unified and harmonious way, so that the decorative patterns on fabrics can obtain vivid and beautiful artistic effects. As a weaving method of the whole fabric, this complicated pattern-digging complementary color technology is not used in jacquard silk fabrics produced in other regions. Although the official weaving in Hangzhou, Jiangsu Province also produced this kind of fabric in the Qing Dynasty, it was actually woven in Jiangning according to this process.
There are many kinds of makeup fabrics that have been lost. 1949 after the liberation of Nanjing, only one kind of makeup satin was inherited.
"Makeup satin" is a colorful pattern woven on the satin ground, with rich colors and diverse color schemes. Take satin cloth with four pattern units as an example: there are four continuous pattern units on the same section, and the patterns of each pattern unit are exactly the same. Due to the use of warping, weft breaking, hollowing out and disc knitting, the pattern and color matching of the four units can be different (of course, we must pay attention to the color relationship between them here), which fully shows the advantages and characteristics of the makeup fabric makeup process. If you are knitting "woven" cosmetic fabrics (such as table circumference, cushion, decorative hanging screen, etc. ), can give full play to the advantages of this color matching. So far, the advantages of this makeup technology are irreplaceable by electric looms.
In the Ming Dynasty, the ground weave of makeup satin was mostly five satin weave. Eight kinds of satin were used in textiles in the late Ming Dynasty. In Qing Dynasty, eight-satin weave was the main makeup satin, and its luster effect was better than that of five-satin. Five satin fabrics were also used in Qing dynasty. At present, there are two kinds of eight satin and seven satin.
[Edit this paragraph] Purpose
In the past, cosmetic satin was mostly used as winter clothes, curtains, door curtains and Buddhist scriptures. It is usually woven into a piece of material for cutting. However, in the Ming and Qing dynasties, many cosmetic fabrics were designed and woven in the form of "weaving", such as dragon robes, embroidered robes, table covers, chair covers, umbrella covers, and even huge colorful woven Buddha statues. These cosmetic flowers are designed and woven according to the specific shape, specifications and specific decorative contents of practical articles, which have high design and production requirements and great technical difficulties; Some complex fabrics (such as dragon robes and giant colored woven Buddha statues), from pattern design to picking flowers and weaving on machines, often take years to complete with the cooperation of many people. Jiangning Weaving Bureau, which was run by the government in Qing Dynasty, and the folk machine workshop in Nanjing had rich experience and great achievements in producing this kind of woven cosmetic fabric. From the Ming and Qing silks preserved in the Forbidden City in Beijing, we can see many such Nanjing silks.
There are eight patterns, four patterns, three patterns, two patterns and one pattern (a pattern unit is called "single flower" or "complete pattern" in workshop terminology).
In the Qing Dynasty, there was also a kind of makeup satin called inch python, which alternately weaved eight patterns of "dragon" and "bone with clouds" with gold thread and colored velvet. Because the dragon pattern is small in diameter, it is named inch python satin or money python satin. Because the outline of the whole "bone moire" looks like a "fish", weavers also call it "fish makeup".
Generally, the satin materials used for make-up are all four or two patterns, and many of them are full-width patterns, such as "Dayun Long", "Taihō Lotus" and "Eight-level Wind Lotus", which are typical brocade make-up fabrics with strong color matching and very heroic spirit. This kind of full-width second-order large pattern fabric is very common in brocade makeup fabrics, but it is extremely rare in brocade produced in other regions.
Among the makeup fabrics of Yunjin, there is another fabric called "Jinbaodi". This is a unique variety of China traditional silk weaving technology.
Jinbao is woven with round gold thread on the ground, and colorful gold patterns are woven on the golden land. The whole fabric is extremely gorgeous and rich. In the early days, Jinbaodi was woven with pieces of gold, with thin texture but poor fastness. Round gold woven land was developed in Qing Dynasty. Jinbaodi, a piece of gold woven land, was no longer produced after the Qing Dynasty. Folk machinery workshops are sold to Tibetan brotherly ethnic areas in Inner Mongolia, and they are all golden treasures of round gold weaving land.
In addition to using all gold as the ground, the method of weaving gold and weaving patterns and colors is exactly the same as that of "weaving satin" Flowers are wrapped in gold nuggets and dug out to make up the color; But the decorative techniques of patterns are more colorful than makeup satin. The main pattern of fabric, like makeup satin, is expressed by multi-level colors (using the method of "color halo"). Hua Bin's makeup methods are much richer than makeup satin. There are "halo" methods, some are monochrome, some are decorated with gold and silver, or both gold and silver are used for decoration. Colored flowers are wrapped in gold, and golden flowers and silver flowers are wrapped in colored velvet. These colorful decorative techniques are skillfully and appropriately applied to the decorative patterns of the whole fabric. For example, the use of "gold" (including silver thread) is not only large in quantity, but also has a variety of expression techniques and decorative effects. Golden land woven with round gold thread, with subtle and calm luster; Twisted sequins and patterns decorated with sequins and silver wires are bright and shiny, forming different gold tones and different luster effects. A large amount of gold (and silver) is properly applied to colorful flowers, which also plays a role in coordinating and unifying the overall color, making the whole fabric colorful and magnificent.
Jinbaodi originated from Jin-Jin performances in Yuan Dynasty. Judging from the design of the fabric and the effect of the finished product, it can be said that it is the product of the combination of "weaving gold" and "making flowers". Many treasures preserved in the Forbidden City handed down from the Qing Dynasty, whether in decoration, color or weaving skills, all reflect the superb level of traditional silk weaving technology in China.
Jinbaodi used to be mainly used as a decorative material for the court. Mongolian and Tibetan national costumes also love to decorate collars, lapels, skirts and the brim of Tibetan hats. It is an indispensable decorative material for Mongolian and Tibetan brothers' national costumes, and the demand is still great.
During the Ming and Qing dynasties, "make-up flowers" and "weaving gold" were both high-grade fabrics in court tributes. From the royal costumes of emperors' empresses to the decoration of court curtains and tatami, from the decoration of classics and boxes to the gifts for princes and foreign ambassadors, these exquisite fabrics are consumed in large quantities. Feudal dynasties spent enormous manpower, material resources and financial resources to weave these special tapestries every year to meet the extravagant consumption needs of rulers.
Due to the changes of times and social habits, many excellent traditional jacquard silk products in Nanjing have been discontinued because of the complicated production process and high material cost. Or be eliminated naturally because it is divorced from the needs of the times and the reality of people's lives; There are also many people who are lost because of the death of others. 1949 Before and after the liberation of Nanjing, Yunjin produced by folk machine workshops was only part of the varieties handed down in the Qing Dynasty, not all the traditional jacquard silk products in Nanjing history. To restore the lost varieties, it is necessary to have high technical strength, give necessary funds and corresponding material conditions, and conduct serious research and experiments, so that it is possible to gradually excavate and restore them. This is a complicated and meticulous research and experiment. Fortunately, 1949 After the liberation of Nanjing, with the attention of the state and the people's government, several representative main varieties of Yunjin were preserved and their skills were completely passed down, which laid a good foundation for the development of Yunjin technology.
Wenyang
vignette
pattern plan
Patterns on jacquard fabrics. The main themes are divided into two categories: natural scenery and various geometric figures (including variant characters, etc. ), with realistic, freehand brushwork, deformation and other expressions. The design pattern should not only be novel and artistic, but also combine the characteristics of fabric structure, weaving technology and fabric use. China traditional silk pattern is one of the components of China culture and art (see Textile Art Design), which embodies the elegant oriental artistic features.
Patterns are divided into continuous patterns and individual patterns. A continuous pattern is a pattern that is repeatedly and continuously arranged in four directions. Bi-directional continuous pattern, referred to as double-sided continuous pattern, is often used in skirts, lace, bedspreads, tablecloth frames and other fabrics. Four-way continuous pattern, referred to as square continuous pattern, is often used in clothing, sofa fabrics or curtains. Continuous modes include geometric continuity, dispersed continuity and branch winding continuity. A single mode takes one mode as an independent unit and has no continuous arrangement relationship with other modes. The composition of this pattern is extremely rich, the most basic form is the combination of edge contour pattern, corner pattern and central pattern, which is mainly used in various daily decorative fabrics, such as tapestries, bedspreads, pillow towels and so on. When the pattern is symmetrical, only half can be drawn, and the symmetrical part can be omitted. According to the distribution degree of patterns in patterns, they can be divided into bright patterns (patterns account for about a quarter of the pattern area, and the rest are ground patterns), ground patterns (patterns account for about three quarters of the pattern area) and mixed patterns (patterns and ground patterns each account for about half of the pattern area). The patterns of clothing fabrics can be divided into three categories: large flowers, medium flowers and small flowers. If the pattern model is more than 9 cm, it is called a big flower, and less than 3 cm, it is called a small flower, and the middle flower is in between. The size of a single pattern of decorative fabric is not limited.
Each color on the pattern represents a fabric weave (including the bottom pattern). The degree to which the pattern is colored depends on how much tissue paper there is on the textured fabric. The pattern is required to be painted evenly and clearly, which is convenient for drawing artists' drawings.
The size of pattern is related to the use, characteristics, weave structure and weaving conditions of jacquard fabric, and its width is often limited by the number of jacquard needles, flowers and warp density. Using fewer patterns can reduce the production cost of fabrics without affecting the artistic effect. For some jacquard fabrics with complicated process, such as edge-cutting, edge-cutting, high-flowered and twisted yarn pattern fabrics, the convenience of production should be considered in pattern design.