Information of Xinjiang handicrafts

The production process and carving techniques of heirloom wood carving (a) the characteristics of the wood and the selection of wood Some wood is loose and soft, some thick and hard, generally the wood is loose and soft easy to carve, thick, hard and heavy difficult to carve. Tough wood, fine grain, bright color called hardwood, such as mahogany, boxwood, rosewood, walnut, hammerwood, etc., with all the advantages of carving, is the carving of the top materials, suitable for carving complex structure, modeling works, and in the process of production and preservation is not easy to break and damage, has a high value of the collection, just carving up more work, easy to damage the knife.　Looser wood is suitable for beginners, such as basswood, ginkgo wood, camphor wood, pine and so on. This type of wood is suitable for carving modeling structure is simple, the image is more generalized works, carving up is also relatively easy, but because of its soft wood, color and lustre is weak, some need to coloring treatment, in order to strengthen the sense of quantity. Some of the wood grain is more obvious and varied, such as: ash, pine, fir, etc., you can make use of the smooth wood grain, wood grain texture, for some of the more lyrical works. Generally speaking, the greater the shape of the undulation, the more rich changes in wood grain, the more flavor; shape of the shape of the dynamic more tactful, smooth, wood grain towards the effect is also the more ideal, to the unexpected good-looking, very rich in decorative. Of course, this kind of wood modeling design should be highly generalized, too complex and too small volume, will not only destroy the wood grain, but also cause visual contrast. So before creating a piece of work, the first thing to do is to know the wood, it is very important to choose the material suitable for the performance.　(B) drying treatment of wood 1, artificial drying: the wood will be sealed in the steam drying room, the steam to promote water evaporation, so that the wood dry. (According to the size of the wood, thick and thin, such as 4cm sheet drying time generally takes a week), the highest degree of drying can make the wood moisture content of only 3%. But after high temperature evaporation of the wood brittle and lose toughness easily damaged and not conducive to carving. Generally speaking, the degree of drying logs should be maintained at a moisture content of about 30%.　2, natural drying: the classification of wood placed in a ventilated place (plate, square or round wood), set aside into a stack, the bottom of the stack is about 60cm from the ground, leaving gaps in the middle, so that air circulation, take away the moisture, the wood gradually dry. Natural drying generally take years or months to achieve certain drying requirements.　3, simple artificial drying: First, use fire to bake dry wood internal moisture. The second is to use water to boil away the resin content in the wood, and then placed in the air or drying. These two methods of drying time may be shortened, but after the water invasion of the wood is easy to discoloration, damage to the wood.　(iii) Application of knives Knives are the most direct assistant and companion in the creation of wood carving. In the wood carving process, the carving knife and its auxiliary tools play a very important role. Knife ready, will grind will use, not only can improve efficiency, and in the modeling can give full play to their skills, so that the knife chiseling, clear and smooth, increase the artistic expression of the work.　There are many types of carving knives, the following are some of the main knives and their uses.　1, flat knife: the edge is flat, mainly used to level the surface of the wood bump, so that it is smooth without trace. Large number used to chisel large wood carvings, a sense of block, the use of the right way, such as painting the effect of brush strokes, appear strong, vivid and natural. Flat knife's sharp angle engraved line, there is a strong wood interesting knife flavor.　2, round knife: edge is rounded, mostly used for round and round indentation, in the carving of traditional flowers is also very useful. Round knife lateral transportation knife is more energy-saving, on the big ups and downs, small changes can be adapted. And the round knife line is not sure, the use of flexible and easy to explore.　3, oblique knife: the edge of the blade was about 45 degrees of the oblique angle, mainly used for works of articulation corners and hollow slits for picking the corner of the light. If the carving of characters in the corner of the eye, oblique knife is better to use. Beveled knife and divided into positive hand beveled and backhand beveled, in order to suit each direction.　4, in the steel knife: blade was triangular, because of its sharp surface in the left and right sides, sharp set point in the middle corner, so the heavier the push pressure, triangular knife carved out of the lines on the thick, and vice versa on the thin. Triangular knife is mainly used for carving hair, carving decorative lines, operation of the tip of the triangular knife in the wood plate to promote the wood chips from the triangular groove spit, the tip of the triangular knife pushed through the part will be carved out of the line to.　Wood carving auxiliary tools are mainly hammer, axe, saw, wood file. The use of the axe is with the billet, a large number of cutting wood, pay attention to cutting should not be too much force, not straight up and down the chop, the axe blade should be kept at 45 degrees or so with the vertical wood grain, otherwise, the wood will crack. The use of wood files is mainly in the round carving of the fine blank stage, instead of flat knife will be chiseled chisel file flat so as to repair the light, but also instead of the round knife or slanting knife for the hollowing process.　(D) carving technique The so-called technique, is the creation of wood carving for the author of the image and space handling techniques. This technique is mainly embodied in the significance of the reduction of carving and engraving, exactly, from the outside to the inside, step by step by subtracting the waste material, step by step, the shape of the excavation to show. In the subtractive modeling time and time again, we not only experience the pleasure of the work in "coming out of the shell". We may even be shocked by the characteristics of the wood or the fact that we may have subtracted something that should not have been subtracted if we had exerted too much force, but if we handle it correctly, we may also be delighted by the danger that comes with it. At the same time can also feel a variety of knife use of the process of special flavor, some accidental effects, can make the work produce new rhyme. Therefore, in the wood carving art creation, is the psychological change and complex and meaningful process. The reason why the formation of beautiful knife skills, is the technology to achieve pure performance. From time to time, when someone copies a good painting, feel the most difficult than with the brush, because the brush is the product of the author's mind and skills, knife, too, is any imitation is difficult to reflect the things. Therefore, only by mastering the techniques and accumulating experience can we achieve the ideal knife skills that are truly our own. The kind of wood grain and carving marks, smooth and rough, concave and convex, round knife arrangement, flat knife cutting ...... the artistic language they express, its charm is other materials sculpture can not be achieved.　Wood carving steps: 1, usually to draw creative draft, and then enlarged to the wood with ink outline; 2, rough is the foundation of the entire work, it is a concise geometric form to summarize all the ideas of the modeling, the requirements to achieve a hierarchy, dynamic, proportionality and coordination, the center of gravity is stable and strong sense of wholeness, initially form the outer contours of the work and the inner contours; chisel rough: can be from the bottom to the bottom, from the front to the back, from the table to the inside, from the shallow to the deep, one layer to one layer. Push forward. When chiseling rough, you should also pay attention to leave room for maneuver, just like cutting clothes, to be appropriately relaxed. Folk saying: "stay fat can change the small, but worry about the barren hard to regain fat, the distance should be small not big, remember that carving is subtractive." Chiseling fine blanks: first from the overall perspective, adjust the ratio and various layouts, and then the specific form of the gradual implementation and shaping, to leave room for the repair of light. At this stage, the volume and lines of the work have become clear, so the knife is required to be rounded and smooth, to have full expressive power; 3, repair light: the use of fine carving and thin knife method to repair the fine blanks in the chisel marks chiseling dirt, so that the surface of the work is detailed and perfect. Requirements for clear and fine knife traces, or smooth, or board straight, or rough, and strive to accurately express the intention of the work; 4, sanding: according to the needs of the work, the wood carving with different thickness of woodworking sandpaper rubbing. Requirements for the first coarse sandpaper, then fine sandpaper. To follow the direction of the wood fiber sanding, until the desired effect; 5, coloring and polishing: with a hard brush, a small hard brush, a color mixing tank. The pigments for coloring generally refer to water-soluble ones, such as gouache, watercolor or shoe polish. They are characterized by small coverage and strong penetration. Acrylic paints for oil painting should not be used.　The method of wood carving coloring is mainly to master the wood and pattern still visible under the coverage of pigment, and some wood grain is more clear through coloring. Therefore, it should not be too thick when mixing the color, the ratio of pigment to water is 30:1, and it should be appropriately thin and transparent. So that even if more than a few times, the wood will not be covered, if the color is properly blended, coloring the brush brush should not contain too much water, do not rush, otherwise some deep concave place to accumulate color easy to produce uneven results.　Coloring is not only to make up for certain wood deficiencies or defects, but also play a role in enriching the beauty of the texture of the material and the beauty of the form of the work. Therefore, when coloring the work should be discretionary, the requirements of the work as much as possible to reflect the form of the content of the demand, and in line with the natural wood of all kinds of beauty.　Wood carving on the color do not immediately wipe the light. Must wait for dry (about 12 hours later), with a clean cloth to wipe vigorously until a uniform luster, to achieve a smooth feel. Some works can be rubbed depending on the circumstances of some leakage, so that the base color of the wood is slightly exposed, forming a rich sense of color, but also strengthens the sense of hierarchy of the work.

The concept of embroidery

What exactly is called "embroidery"?　Embroidery is also known as "needle embroidery", commonly known as "embroidery". Embroidery needles lead colorful threads (silk, velvet, thread), according to the design of the pattern, in the fabric (silk, cloth and silk) embellished with needles, embroidery to form patterns or text, is one of China's outstanding national traditional crafts. In ancient times, it was called "embroidery" or "needlework". Later, because embroidery was mostly done by women, it was also called "women's red". According to the Shangshu (Book of Songs), more than 4,000 years ago, the Zhangfu system stipulated that "clothes were painted and embroidered". To the Zhou Dynasty, there are "embroidery multi-color **** job" records. Hubei and Hunan excavations of the Warring States, the two Han Dynasty embroidery, the level is very high. Tang and Song Dynasty embroidery needle even fine, colorful, prevalent with embroidery for painting and calligraphy, ornaments, etc.. In the Ming and Qing dynasties, the scale of embroidery in the feudal court was very large, and folk embroidery was also further developed, which successively produced Suzhou Embroidery, Guangdong Embroidery, Hunan Embroidery, and Shu Embroidery, known as the "Four Famous Embroideries". In addition, there are Gu Embroidery, Beijing Embroidery, Ou Embroidery, Lu Embroidery, Min Embroidery, Bian Embroidery, Han Embroidery and Miao Embroidery local embroidery, China's ethnic minorities, such as Uygur, Yi, Dai, Buyei, Kazakh, Yao, Miao, Tujia, Jingpo, Dong, Bai, Zhuang, Mongolia, Tibet, etc., also have their own characteristics of ethnic embroidery.　Embroidery needlework: Qi needle, set of needles, zha needle, long and short needles, hit the child needle, flat gold, poke sand and so on dozens of kinds of colorful, each with its own characteristics.　The Four Famous Embroideries were formed in the mid-nineteenth century, and besides its own artistic characteristics, another important reason for its creation was the result of the commercialization of embroidery. Because of the market demand and embroidery origin of different, embroidery crafts as a commodity began to form their own local characteristics, which Su, Shu, Guangdong, Hunan, four places in the product sales is particularly wide, so there are "four famous embroidery," the name.

"Four famous embroidery"

Su embroidery, Suzhou is located in the south of the Yangtze River, the birthplace of Suzhou embroidery in Suzhou, Wu County area, near Taihu Lake, mild climate, producing silk. Therefore, there have been women who are good at embroidery traditional habits. Superior geographical environment, gorgeous and rich brocade, colorful floral line, for the development of Su embroidery to create favorable conditions. In the process of long-term historical development, Su embroidery in the art of forming a beautiful pattern, color harmony, bright lines, stitch lively, fine embroidery of the local style, known as the "Pearl of the Orient".　Cantonese embroidery is the general name for embroidery in Guangdong. It is rumored that it was originally created by the Li ethnic minority, and most of the previous embroiderers were men from Guangzhou and Chaozhou, which is rare in the world. The main embroidery products are clothes, hanging screens, pouches, screen hearts, fans, fan sets and other embroidery products. Artistically, Cantonese embroidery is dense and lively, with rich and eye-catching colors, simple needles, thicker and looser embroidery threads, jagged stitch lengths, and overlapping and slightly convex stitch patterns. Phoenix, peony, pine and crane, apes, deer, chickens and geese are often used as themes. Another famous product of Cantonese embroidery is to use gold satin or nail gold lining, that is, the famous gold embroidery, especially the gold velvet embroidery lined with high floating cushion, it is brilliant, bold and thick, mostly used as costumes, stage furnishings and temple furnishings embroidery, suitable for rendering a warm and festive atmosphere.　Shu embroidery, also known as "Sichuan embroidery", refers to Chengdu as the representative of Sichuan embroidery. The history of Shu embroidery is also very long. According to Chang Qu's "Huayang Guo Zhi" of the Jin Dynasty, the embroidery in Shu was already very famous at that time, and Shu embroidery and Shu brocade were listed together as the famous products of Shu. The purely ornamental products of Shu embroidery were relatively few, mostly daily necessities, and most of the materials used were flowers, birds, insects and fishes, folk auspicious words and traditional decorations, etc., which were quite festive and embroidered on quilts, pillowcases, garments, shoes and painting screens. In the middle and late Qing Dynasty, Shu Embroidery absorbed the strengths of Gu Embroidery and Su Embroidery on the basis of local traditional embroidery techniques, and became one of the most important commercial embroideries in China. Shu embroidery is neatly stitched, smooth and bright, with clear silk lines and no brush strokes, and the edges of the patterns are cut too neatly as if with a knife, and the colors are bright and beautiful.　Hunan embroidery is the general name of embroidery products around Changsha, Hunan Province. Hunan embroidery is a folk embroidery originated in Hunan and developed by absorbing the advantages of Suzhou embroidery and Canton embroidery. Hunan embroidery is mainly embroidered with pure silk, hard satin, soft satin, transparent yarn and various colors of silk thread and floss. It is characterized by strict composition, bright colors, and expressive stitches. Through rich color threads and ever-changing stitches, the embroidered figures, animals, landscapes, flowers and birds have special artistic effects. In Hunan embroidery, no matter flat embroidery, weaving embroidery, net embroidery, knot embroidery, hit the child embroidery, cut velvet embroidery, three-dimensional embroidery, double-sided embroidery, messy embroidery and so on, all pay attention to portraying the appearance of the object and the inner texture, even if a scale, a claw, a petal and a leaf of the micro also meticulous.

Edit Lacquerware

Lacquerware is the ancient people's daily life in a very wide range of items; due to the lacquer acid, alkali, heat, corrosion and other characteristics, so early on was utilized by people. China is the earliest country in the world to use lacquer, "Han Fei Zi? Han Fei Zi, described Yu Shun to make food utensils, "flowing lacquer and ink on it. Yu made sacrificial vessels, ink lacquer on the outside and vermilion paint on the inside." Lacquer objects have been found in late primitive society sites. The cultivation of lacquer trees was quite common in ancient times, and Zhuang Zi, a great philosopher of the Warring States period, held the official position of managing a lacquer garden. Early lacquerware was generally painted on simple wood and bamboo tires, both for antiseptic and decorative purposes. With the development of lacquer technology, gradually appeared in a variety of artifacts on the painting, depiction of gold, bump gold, lacquer, or in the tire lacquer to a certain thickness, and then on top of the carving of the design of the practice, there are also lacquer inlaid with gold, silver, copper, inlaid with gold, silver, copper, tin, jade teeth and gemstones, in order to make up the magnificent pattern, a thousand words and thousands of China, and the strife can not be recognized. Gold and silver flat off the Tang Dynasty, the Song Dynasty, a color lacquer, the Yuan Dynasty, carved lacquer, the Ming Dynasty, the hundred treasures inlay, the Qing Dynasty, such as stripped lacquer, are representative of the characteristics of each generation of famous products.

Editing Bronze Ware

Bronze Ware. In China's ancient times mostly refers to bronze, popular in the late Neolithic to the Qin and Han Dynasties, with the Shang and Zhou wares the most exquisite. Initially appeared small tools or ornaments. The Xia Dynasty began to have bronze containers and weapons. In the middle of the Shang Dynasty, the variety of bronzes was already very rich, and inscriptions and fine patterns appeared. Late Shang to the early Western Zhou Dynasty, is the heyday of the development of bronze, a variety of types, thick and heavy, inscriptions gradually lengthened, the pattern of complex mattresses rich and beautiful. Subsequently, the bronze body began to become thinner, and the decoration was gradually simplified. The late Spring and Autumn period to the Warring States, due to the popularization of the use of iron, bronze tools less and less. Zhanhan period, with the porcelain and lacquer into daily life, copper container varieties reduced, simple decoration, mostly plain, the body is also thinner. Ancient Chinese copper, is a great contribution of our ancestors to the material civilization of mankind, although from the current archaeological data, the emergence of China's copper, later than some other parts of the world, but on the scale of use of copper, casting technology, styling art and varieties, there is no other place in the world that can be compared with the ancient Chinese copper. This is one of the reasons why ancient Chinese bronzes occupy a unique position in the history of world art and have attracted universal attention.

Editing Jade

Xinjiang jade is the best of the jade group in China, of which Hetian jade is the most prestigious, especially Hetian white jade is the top grade of Hetian jade. White jade has a fine texture, pure mixed white, and the color is like sheep's fat. Therefore, it is also known as sheep's fat jade. Jade carvings engraved with sheep's fat jade are treasures for export.　Jade is rich in a variety of trace elements needed by the human body, such as zinc, iron, copper, manganese, magnesium, cobalt, selenium, chromium, titanium, lithium, calcium, potassium, sodium, etc. Often wear and use of jade, the meridians, blood veins, skin and so on, are good, and can play a certain role in health care. Jade's special molecular structure can produce *** vibration absorption with human cells, so as to improve circulation, stimulate cell regeneration, enzyme activity, physiological function recovery and other health effects.

Edit this section of the blue printed cloth

Chinese use of cotton fiber weaving history can be traced back to the beginning of the A.D., to the end of the thirteenth century, handmade cotton spinning technology has been widely disseminated in the Suwannese, Jiangsu, Zhejiang and other regions, blue printed cloth process has also been widely used.　In the old days, every family in the rural areas around Zhejiang and Jiangsu would weave and dye cloth. The clothes worn by the old generation, the wrapping skins used in daily life, and even the dowry of their daughters were all blue printed fabrics woven and dyed by their own families. Curtains, headscarves, aprons, wraps, tents, etc. can all be made from it. Blue printed cloth seems to be the special fabric of the working people. Its pattern is full of rich local flavor, natural and fresh. The main production area of blue printed cloth in Jiangsu and Zhejiang is Nantong.　In the Nantong area, since ancient times, simple folk customs, in the Ming and Qing Dynasties, due to the Nantong climate and geography at that time was very special, warm and humid, especially suitable for the growth of cotton and "bluegrass" and "bluegrass" and cotton planting in the local countryside is very common, plus the local folk textile technology is very Coupled with the local folk textile technology is very developed, every family has a wooden spinning wheel and loom, every family can hear the sound of the cloth machine, every household has a weaver. Therefore, in the Ming and Qing dynasties, Nantong dyeing and weaving blue printed fabric workshop has developed into a large-scale market, according to the Ming Dynasty "Nantong County" records, in the "Dyeing and Weaving Bureau" registered hand-dyeing workshop there are as many as nineteen.　Blue printed cloth originated from the Qin and Han Dynasties, flourished in the Tang and Song Dynasties, and was known as medicine spot cloth in ancient times. Ancient and Modern Book Collection" volume records: "medicine spot cloth - cloth smeared with gray medicine and dyeing green, wait for dry, go to the gray medicine, then the green and white, with figures, flowers and birds, poems in various colors, to fill the coverlet with." During the Ming and Qing Dynasties, the medicine spot cloth has been popular among the people, so the people also called watering cloth, on the basis of which it has been developed to the present day. The most typical blue printed cloth is the pattern of white flowers on a blue background and blue flowers on a white background. This traditional craft of intersecting blue and white backgrounds has a complicated production process.　Nantong folk blue printed cloth is spun, woven and dyed by hand. The patterns are all hand-carved, and each carved paper plate is like the art of paper-cutting. Blue printed fabric production process is the first openwork plate, outline the general pattern on the vellum, with homemade knife instead of pen, openwork, openwork there are sub-surface, carve lines, carve points of the technique, carve the main use of broken knife knife, to show the large pattern, which is the most typical blue printed fabric in the knife, carve a line to carve a smooth, fluent, blue printed fabric pattern of the line is divided into yin and yang lines. The "engraving point" is usually pounded with a homemade tool, and the point generally plays a decorative role in the pattern. In addition to skeletonization, there is also a replacement plate, where the pattern is preserved by coloring the plate used in the early days and then skeletonized, so that it can be used repeatedly. After the plate is hollowed out, it is reinforced by brushing with tung oil, categorized and preserved, and can be directly printed with spinning and dyeing paste when it is needed. The woven white cloth is taken down from the loom and sprinkled with water to moisten it before printing and dyeing, in order to let the white cloth absorb the dyeing pulp better. Blue printed fabric dyeing paste is made of soybean flour and lime, soybean flour and lime ratio is one to seven, plus water to make a paste, put the engraved plate on the white cloth can be scraped. Scrape the paste to pay attention to the force of uniformity, when the plate should be placed on the edge of the cloth and the plate, so as to make the layout of the proportionality of each other, printed and dyed paste of the white cloth takes two days to dry, to be dry after the gray paste, put into the tank dyeing.　Blue printed cloth is blue and pure because of the use of plant dyes - bluegrass. According to "Guangxu Tongzhou Zhi" records: "planting blue into the border, May mowed said the first blue, July and then mowed said the two blue, glazed tile a pool of water, draw water into the lime dip, stirring a thousand times, bailing water, that is, into indigo. Used for dyeing cloth, said small cylinder green. Out of Rugao is especially famous." Sowed in the spring and harvested in the fall, the leaves are immersed in a rock pool, and after a few days, the rotting branches are removed and lime or sea clam powder is put in to make it precipitate. After precipitation, the dye looks like soil, commonly known as "soil indigo". On May 7 every year, Nantong people harvested the locally produced plant dye, bluegrass, and processed it as the dye pigment for blue printed cloth. In the Ming Dynasty, indigo was a tribute to the imperial court, and it gave the blue printed fabric a pure and heavy flavor. Vegetable dyes were specially formulated to make the dyeing tank water for printing and dyeing blue printed fabrics. Each dyeing tank is more than one person high and contains living water that does not die for thousands of years, and the printed white fabrics and fabrics brushed with gray slurry are thrown into the dyeing tanks, and microorganisms constantly move in the water of the dyeing tanks to dye the parts without gray slurry blue, while the gray-dyed part retains the original white color, and the water of the dyeing tanks endows blue printed fabrics with the spirit of aesthetics. Careful maintenance of the dyeing vat is an ancestral skill that is not passed on to outsiders. For the sake of secrecy, the dyers always adjust their formula every night after carefully inspecting the water in the dyeing tank. In the early hours of the morning before the dyeing of cloth, a mysterious method is used to judge whether the cloth can be dyed or not, through the oil stains on the head and the amount of dyes fused to determine whether the dyes are ripe, so that the cloth can be dyed. The water in the dyeing tank is the source of life for the blue prints, and the dyers are also the respected artists in the dyeing workshop. The ancient and magical nature of oriental culture is centrally reflected in the dyeing and printing techniques of blue printed cloth. The dyed cloth is dried and then scraped with ash. Scraping is the fourth process to scrape off the anti-dyeing paste after dyeing. When scraping the paste, special care must be taken so that the cotton cloth is not scratched. After the dyed cloth has been removed from the light floating mortar, the seal reveals the original color. Where the mortar block is large, the gray layer naturally cracks in the dyeing roll, and the indigo penetrates into the cloth with the cracks, leaving a natural texture that can't be depicted artificially. The natural texture is the soul of the art of blue printed fabric.　The beauty of blue printed cloth is the beauty of washing, after repeated washing and then drying. Will be dyed blue calico hanging in the sun under the sun scene, really call outsiders feel surprised, a blue cloth from the high clouds, hanging straight down, the sun shines when the blue calico emits dazzling light, a chic flower, as if out of the blue, and when the wind blew, those hanging cloths are doing a beautiful dance, give a person a kind of blink of an eye on the work of a feeling that may fly up to the sky, and the wind is not a good idea. We stood in front of these hanging blue prints for a long time, wanting to read out its freshness, read out its colorful patterns under the deep cultural heritage, read out the texture of its tough weaving Jiangnan weavers dexterous hands, read out the portrayal, dyeing that pure pattern of cloth dyeing workers Wuqing's hands and beautiful heart.