History of Woof Fabric

According to Japanese scholar Mr. Fujii Shouichi's research, China's woof fabrics existed as far away as in the period of colored pottery and earthenware (around 2500 BC), and the woof fabrics had been well-made in the Shang Dynasty (1600 BC ~ 1046 BC). (Only from the historical vocabulary to explore, there is no physical can not be proved, woof when the earliest appeared is still to be proved).

Chinese Xinjiang Loulan ancient city in the Han Dynasty site has been unearthed in the "Chinese and Western (domain) mixed style" woof woolen fabrics. 1972 in Changsha, Hunan Province, Mawangdui Tomb of the Han Dynasty found in the woof woolen fabrics, the production of its extremely fine. At the beginning of the twentieth century, there have been three in-depth exploration in Asia archaeology of the British cultural relics thief Stein (Marc Aurel Stein 1862~1943) written by the Xinjiang of the underground treasure trove, speculated that the woof of the process has a long history, as a special process of the woof of the earliest woof from the Western minority of woof wool. In 138 B.C., Zhang Qian passed through the Western Regions and exchanged goods, and there were mainly silk, silk, brocade, satin, damask, Luo, yarn, qi, velvet, woof, etc. In 1973, a very precious woof belt was unearthed in the ancient tomb complex of Astana in Turpan, Xinjiang, which was proved to be a dancing figurine belt of the 7th century A.D. by the Chinese archaeologists. Chinese archaeologists proved that it was the waistband of the dancing figurines in the 7th century, which is the earliest woof object found in China at present.

Woof originated in when it is difficult to prove, but from the heirloom of the physical point of view, as early as in China between the Han and Wei have. In Mongolia unearthed in the Han dynasty "stone tree" silk weaving debris, its weaving method "through the weft", and the Beijing twin towers unearthed in the Song woof "purple soup lotus" is exactly the same. During the Tang Dynasty, the woof craft was developed and perfected under the background of cultural exchange between the East and the West. At that time, the production was mostly for silk ribbon and other commodities. Woof weaving technique is generally based on flat woof, and the intersection between the flowers and the ground still has obvious gaps, i.e. "waterway". In addition, there are also guandan, structure and ride the shuttle and other woof weaving method. In Tang Dynasty, the pattern of woof is generally based on simple geometrical pattern, and the color is mainly the block of flat paint, and there is no halo color matching, so the color level is not rich enough, but some of them have used the gold line for the pattern, which enhances the decorative effect. Woof craft also spread to all over the world during this period along with the condemnation of Tang Dynasty envoys and people studying abroad in various countries. So much so that today we can still see the people in neighboring Japan will be woof as their own country's most valuable fabrics used to make obi, kimono and robes of Japanese monks. We can even see from

"This woof" weaving in the Han and Tang Dynasties, China's towering style of the great powers. After the Sui and Tang dynasties, has used the woof products for painting and calligraphy bag head. Ming Dynasty, the court advocated frugality, the provisions of the woof only allowed to be used as imperial edicts and grants, so the woof production is very small. In the Ming Dynasty, the court set up "Woof as" under the "Imperial Supervisor" to manage the production of woof. However, after Xuande Dynasty, with the wealth and strength of the country, the ban was gradually relaxed, weaving more and more, and re-modelling of celebrities' paintings and calligraphy, "the southern craftsmen came to the north to present their skills, and the production of the fine not less than Xuanhe". To the Ming Chenghua years, the woof production has tended to flourish again, works are mainly produced in Suzhou, Nanjing and Beijing and other places. Woof art style was y influenced by the Jiangnan literati painting, more copy woof of the master's manuscripts such as woof artists Wu Qi, Zhu Liangdong, Wang Tong woof Shen Zhou, Tang Yin, Wen Zhengming and other people's manuscripts that famous for a while, which the woof "Yaochi offer birthday map", woof "Shen Zhou Peach Fairy map" and other masterpieces for the court collection.

Woof production was monopolized by the royal family, and the decorative meaning of the technique was particularly strong, creating new techniques such as phoenix-tail bumping and double-child mother bumping, and even mixing the peacock's plume and other precious materials in the weft threads to show the royal style. This period was the time when the great change of Chinese dress occurred, and the economic competition between small workshops also appeared in Jiangnan area, and the high-grade fabrics were also trying new methods, and the texture was also softer and softer, and the "Ming Woof Silk" came into being in this way. At this time, Jiangnan Woof has already had a considerable scale, and formed its own style. At that time, there were a group of artists engaged in woof weaving in Lumu Town outside Qimen, Suzhou. Zhu Liangdong, a famous worker, made the "Yaochi Dedication of Longevity" (now hidden in the Palace Museum in Beijing), with a clear outline, especially the best. The biggest feature of the woof in the Ming Dynasty was the imperial woof, which was offered to the court to make the emperor's dragon robe. The emperor's dragon robe unearthed in the underground palace of Beijing's Thirteen Tombs is an example. The second is the combination of realism and decoration, the contents of landscapes, birds and flowers, characters and calligraphy, etc., mainly small albums, rich in decorative; especially the woof weaving characters, unprecedented, can be called a major innovation. Famous Wu Qi woof weaving Shen Zhou "peach fairy" and "play baby figure", the characters of the open phase of the whole system of woof weaving, form vivid, lifelike, presenting the unique style of woof art.

From the Wanli period of the Ming Dynasty to the Kangxi and Qianlong periods of the Qing Dynasty, the silk weaving industry in the south of the Yangtze River was firmly controlled by the imperial power, and the woof also became a symbol of imperial power. The dragon robe of the Ming and Qing Dynasties, the daily necessities of the palace, the symbol of the rank of the officials - the official complement, are all the best work of the woof. Woof in the Qing Dynasty also got a good development, appeared double-sided woof, wool woof and woof embroidery mixed method (i.e., the integration of the woof, embroidery, painting and other crafts). During the Qing Dynasty, the woof artworks were combined with woof and painting, which was unique and created a number of exquisite works, such as the woof artworks "Three Stars" and "Eight Immortals Celebrating Longevity". It is especially worth mentioning that, during the Qing Dynasty, poems and texts were used throughout the woof on the surface, such as the "Imperial Three Stars Figure" on the upper section of the woof of the Qianlong Emperor's "Three Stars Ode" and the "Years of the Chao Figure", and the lower section of the blue clerical Qianlong Imperial Years of the Chao Poem, the text of the calligraphy woofing is very fine, which shows the skill of the famous craftsmen.

In the late Qing Dynasty, with the weakening of the country, China's modern war, the woof industry appeared to be on the verge of extinction, woof shoddy work inundated the city, even if the palace used things are rare fine. At the end of the 1970s, when China's reform and opening up, Japanese businessmen ordered large quantities of kimono belts and robe clothes (Japanese monks' high-grade dress robes) from China, which led to the rapid development of the woof industry, and the establishment of woof factories and workshops in Suzhou, Nantong, and the surrounding areas of Hangzhou. Suzhou has established Suzhou Woof Factory, Wuxian Dongshan Woof Factory, Likou, Huangqiao, Lu Mu Woof Factory, known as the five leading woof factories, *** there are more than six hundred employees, woof machine more than six hundred units. In addition to the production of woof artwork, the main production of woof daily necessities - kimono belt. In the 1980s, with the deepening of China's opening up to the outside world, the task of exporting arts and crafts soared. Kimono, woof belt due to the favor of Japanese customers, the export demand is rising year by year, the woof manufacturers have to add woof machine equipment, personnel up to 10,000 people, woof machine tens of thousands of units, more than the history of

any era, the unprecedented development of woof production, almost forming a "village has a factory, every family has a machine," the scale of the. Nantong Institute of Arts and Crafts began trial production in early 1985.

Nantong Arts and Crafts Research Institute in the national arts and crafts industry is more prestigious units, it was once known as the national arts and crafts industry in one of the four pearls. Although the woof industry in Suzhou and Hangzhou had just restarted at that time, Nantong's woof skills were still far behind them. Wang Yuxiang, the heir of the woof art of Nantong Arts and Crafts Research Institute, in the process of researching and inheriting the woof art, inherited the tradition of the woof art and innovated boldly at the same time, and succeeded in recovering the woof lead-foil belt, and after several months of research and development, the first woof class lead-foil belt of Jiangsu was successfully developed in Nantong, and it was able to be produced in small batches. At the same time, Wang Yuxiang shared this technology to another Suzhou woof master--Mr. Wang Jinshan without any compensation, which added a colorful touch to Nantong arts and crafts industry. On the basis of the cited foil belt technology, Nantong also learned the technology of the original ancient Chinese woof technology from Japan - this woof (called "this embellishment" in Japan), and accepted a Japanese gift of a Japanese wooden machine about 300 years ago (this machine is still intact in Nantong Xuantong Xuanwei). (the model of this machine is still intact in Nantong Xuanhe Woof Research Institute). In this way, two major schools of woof crafts were formed, namely, Suzhou with the production of Ming carving silk and Nantong with the production of this woof. At the beginning of 1990s, due to the declining task of foreign trade in arts and crafts, the production of woof daily necessities faced difficulties, the enterprise labor surplus, production shrinkage, the outflow of skilled personnel, the vast majority of enterprises shut down and turned to. Only Suzhou Embroidery Research Institute and Nantong Xuanhe Woof Research and Development Institute (former Nantong Toda Economic and Trade) two still insist on the production, they boldly explore, actively innovate, the oriental art of woof combined with the western art of painting, photography, has woofed a number of new art products, "Still Life", "Children", "David Portrait" and so on, to the art of woof injected a new vitality. In the process of production, Xuanhe Woof Research Institute makes foils with dry grass and dry flowers, then cuts them into thin strips and weaves them into fabrics so as to make the picture more close to the nature; and transplants the silk carpet weaving method into the woof technique so as to make the picture's three-dimensional sense enhanced and more vivid, etc. The technique enriches the ancient and young traditional crafts. In addition to the production of common robe and belt, we also produce Tangka and celebrity painting and calligraphy copying and woofing works. Among them, the copying of Zhang Daqian's "Birds and Flowers" (1941), Fan Zeng's "Dongpo Chanting and Whistling" (1987), "Simple Brush" (1996), etc., not only copy the style and content of the original landscape and figure paintings, but also the style of each painter's ink, ink color, brush and other fine features, rich and vivid, subtle, like heavenly, and the beauty of its weaving, but also the weft and the weft intertwined with a unique The beauty of its weaving is unique to the interweaving of warp and weft.

Today, the woof production enterprises are only Nantong Xuanhe Woof Research Institute (Nantong Sanhe Economic and Trade), Suzhou Embroidery Research Institute Co., Ltd., Wang Jinshan Master (Woof) Workshop, and Wang Jialiang, Wang Jialiang, Wang Huanwen, Wu Wenkang, Chen Xiaojun and Hao Naiqiang, the new generation of the folk artisans of Wu County, such as Kwongfu, Huangqiao, and Jiazhi, etc. The main production of woof art and woof artwork and the production of the new generation of the new generation of Hao Naiqiang. It mainly produces woof works of art and woof daily necessities, such as "kimono belt" and "robe".