Use of cosmetic flowers

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 embroidery 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, after the liberation of 1949, with the attention of China * * * production party and 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.