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    November 12

    Brocade Culture

     
        According to an ancient text "Explanations of Names", the character Shu, abbreviation of Sichuan province, literally depicts silkworms in mulberry trees, which shows the interior connection between silk weaving and ancient Sichuan, a land of abundance. The excavations of silk fabrics in this area identified that as early as 4,000 years ago ancient Shu people had already mastered advanced weaving techniques. Romances about Matouniang (Horse Head Lady) and Leizu, a legendary emperor Huangdi's wife, spread far and abroad. However, the appearance of brocade in Chengdu should date back to Spring and Autumn and Warring States periods. The symmetrical geometric patterns are easy to make and consequently took the majority of the designs. Simple geometric motifs of nested squares, spirals, dots and crosses are inserted in grids of straight lines. These small patterns gradually evolved into large geometric patterns, which became typical of Warring States textiles. Qin's unification of chaotic China turned the vast territory into a feudal empire. After the short governing, Qin was superseded by Han which brought China to its first peak in terms of economy and military forces. This period saw the establishment of three weaving centres: Chang'an, then capital of China, with east and west workshops; Chengdu, the brocade city; Shandong province. A great many relics suggested the popularity of clouds and animals on the fabrics, which was designed to cater for the rulers’ enthusiastic about Taoism, a influential traditional religion in China. Textile with 1:4 structure allows for five colors, white, black, green, red and yellow. The feature is related to the contemporary theories of Yingyang and Wuxing, the five elements. The item with inscription of ‘Wu Xing Chu Dong Fang Li Zhongguo’ fully embodies designer’s obedience of the theory with exception of the replacement of black with blue for aesthetic need. Textiles with cloud and animal patterns occupy an important position in the artistic history of Chinese textiles, the influence of which could even be seen on wool textile of the west.  
    Qin & Han Period
    20061219105234390 
     
    Wei & Jin Periods
        Silk, pottery, tea and so forth were constantly transported to the west along the Silkroad which was opened up with exploration of Zhangqian, an envoy sent by Han emperor. These commercial troupes also brought back many exotic novelties, lion, camel, elephant, winged horse, peacock as well as glass and Soon, these images appeared on fabrics. The transformation of weave structure from warp-faced to weft-faced made patterns even more magnificent and complicated. Composition with grid systems prevailed, including rectilinear grids of lozenges or squares, overlapping circles, hexagonal grids resembling a tortoise shell pattern. Paired creatures are often standing these grids, aligned in the weft direction, in contrast to the warp alignment of animals in Han dynasty cloud pattern textiles. 
    Tang Dynasty
        Statements records that the prosperous Tang dynasty kept trading and cultural communication with hundreds of countries and regions around the world in its peak. Envoys were sent to Chang’an to study construction, language, weaving and so on, and Kyoto, a Japanese city, was constructed after Chang’an. Meanwhile, many talented people tried their best to innovate traditional patterns, whom Doushilun, governor of Yizhou, or Chengdu designed his patterns, the “Duke Lingyang style”, of greatest influence, which are described by the Tang dynasty scholar Zhang Yanyuan in his Li Dai Ming Hua Ji (Records of Famous Paintings). These pattern remained popular for the next few hundred years. The patterns feature confronted animals in roundels with scrolling vines filling the space.
    200612191113115
     
    Song & Yuan Dynasties
        Southern Song dynasty moved not only its capital to Kaifeng, Henan province but silk production base to the south. However, Shu Jin Pu (Records of Shu Brocade) stated there were already over 10 places producing Shu brocade with 50 patterns before government added another brocade institute called Cha Ma Si in Chengdu. When it came to Liao and Jin periods, brocade became flashing with gold threads being its material for the love of the northern nomads. Yuan dynasty saw it prevailing.
     
    Ming & Qing Periods
        Art and culture of Ming and Qing dynasties became increasingly secular. Nearly every object in daily life is incorporated, and they were used to express the general wish for good life, such as a hundred boys, lantern. Fangfang, moonlight and drizzle patterns won fame at home and abroad.
    2006121911632796

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    Nov. 12

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