Distribution of batik in Guizhou

Batik has spread in most counties and cities in Guizhou, and it is gradually expanding. The area where Miao, Buyi and Shui people live together is the base camp of batik popularity, and a small amount of batik also appears in other minority areas. Batik spreads widely, and the batik styles of different regions and nationalities are more or less different. Generally speaking, Guizhou folk batik styles in different regions are similar and different, similar and interesting. Due to the long-term cultural exchange and mutual influence, the situation is more complicated, and now only some characteristics of the main epidemic areas are briefly introduced. Anshun and Zhenning, located in the hinterland of central Guizhou, are the centers of ancient Yelang Kingdom. Many Miao and Buyi compatriots live here. Miao batik in Anshun and Buyi batik in Zhenning have their own characteristics. Miao people in Anshun like to decorate batik patterns on cuffs, lapels, back feet of clothes and back fans (that is, children's suspenders), and batik on back fans is the most exquisite. Traditional batik patterns are divided into natural patterns and geometric patterns. Natural patterns are based on natural objects such as flowers, birds, insects and fish, but are not limited to the original appearance of natural objects. Generally, geometric patterns are unified or symmetrical on all sides to achieve the unity of the overall effect. The pattern composed of points, lines and surfaces is well matched, with clear priorities, dense and rhythmic sense. The more common is the dotted line. Producers also like to paint red and yellow on the basis of blue and white, which is called "pen color".

In ancient times, red bayberry juice and gardenia jasminoides Ellis were crushed and soaked in water, and the red and yellow colors collided with indigo, which became intermediate colors such as grass green and ochre. This has formed multicolor batik, or "multicolor batik", which is rare in the traditional batik of ethnic minorities in Guizhou. This multi-color batik, with bright color contrast, such as brocade and embroidery, is very gorgeous. The clothing of Buyi people in Zhenning area is quite distinctive. Women wear long skirts and instep, covered with striped head handkerchief and shoulders, chest length and waist. Unmarried girls wear two thick braids on their heads, while married girls wear a long handkerchief lined with bamboo shoots, which is called a "fake shell". The batiks on their clothes are mostly geometric patterns, such as spiral patterns, dot patterns, light-colored patterns, mesh patterns, mosaic patterns and so on. Among them, the spiral pattern is more common, winding from the center of the circle to the outside, with the same thickness. If double lines are used, the double lines will not merge and there will be no traces of connection. These patterns are rigorous and meticulous in structure, symmetrical and unified, corresponding to reality and reality, alternating rigid and flexible, and quite beautiful. In addition to dark blue and white, light blue is added to enrich the layers. Ping Huang is located in the north of Qiandongnan Prefecture, where the Feijia women's clothes are also unique, looking like warriors in armor. Their clothes are decorated with patterns and batiks, which are very eye-catching

Traditional batik patterns include geometric lines, moire patterns, palindromes, sun patterns, tooth patterns, triangular patterns, band patterns, light patterns and thunder patterns. There are also many natural patterns, such as tits, bats, fish, flowers and plants, pomegranate, kudzu vine and so on. And eagle patterns often appear. Its remarkable feature is that geometric patterns are embedded in white stripes, which makes the patterns more abundant. It seems that the description of natural patterns is bolder than other fields. Some animals only see corridors or some limbs, and some unrelated animals and plants are wonderfully combined. Rongjiang is located in the southeast of Guizhou Province, where Dong and Miao people live. The Miao batik in Xinghua Township here is very distinctive, and the dragon pattern is very common.

The dragon pattern is mainly painted on the drums of the triennial Drum Club Festival-Bu, the dragon looks like a snake, circling or stretching, and the head has sawtooth patterns. Some batiks on drums and banners are divided into 12 squares, showing 12 different geometric patterns, such as fish, butterflies and silkworms. When welcoming the spirit, every household should hang banners and walk in front of the guard of honor to render a solemn, solemn and mysterious atmosphere. The robes, headdresses and belts worn by some men when they "step on karaoke bars" are also made of batik cloth painted with dragon patterns. In addition, some people painted the scene of dancing with reeds as batik. Danzhai is located in the south of southeastern Guizhou, and the batik modeling in Miao areas around Danzhai is rough. In addition to clothes, it is mostly used for larger sheets, shops and bags. Batik patterns are simple, vivid and changeable, mainly based on natural things such as flowers, birds, insects and fish, but they are not real imitations of natural things, but are created by observing, experiencing, refining and integrating their rich imagination. These stripes are often exaggerated, deformed and wonderfully combined, full of childlike interest. For example, draw the tail of golden pheasant as a bunch of buds, and draw the cock crown as a flower, or a pomegranate, or a peach; Draw the bird's body as the fish's body, the bird's wings as the butterfly's wings, and so on. In addition, there are geometric patterns. When lighting wax, some producers will arrange the bottom sample on the starched white cloth. Simple patterns are outlined with nails, complex patterns are described with fine needles, and circles are made with inverted bowls. Some also use bamboo chips and straw as rulers, bamboo tubes as compasses, cut flowers and birds into paper-cut samples, and then depict them with fine needles. The wax figures drawn on this basis are quite neat and standardized.

The unique minority Shui nationality in Guizhou is adjacent to the Miao nationality in Danzhai, and batik is also very popular. Its style is similar to that of Danzhai Miao, but there are also subtle differences. For example, Danzhai Miao batik clothing is painted in red and yellow, while Sandu Shui batik clothing is not painted in these two colors. The reason is that Miao and Shui people did not get married at first, but later got married, and some living habits, including clothing, gradually converged. Legend has it that in order to distinguish future generations, the old Miao people dyed the blood of cows and pigs on women's clothes in a sacrificial activity, and they have become accustomed to it ever since. Since the reform and opening up, with the rediscovery and research of Guizhou minority batiks in all parts of the province, Guizhou folk batiks, which have always been regarded as elegant by literati culture, have gradually moved from mountains, rivers and bazi to the market and entered the daily life of urban people, showing broad application prospects. At the same time, however, the crisis of vulgarization and commercialization has also troubled and hindered the development of batik, a high-grade and independent artistic style. Guizhou artists have deeply reflected and thought about this, and made fruitful explorations and experiments from their own perspectives. In the mid-1980s, the "Guizhou Learning Folk Art Exhibition", which aroused strong repercussions in China art circles, can be regarded as the initial achievement of this exploration. Among them, Ma, Liu Yong and others systematically excavated, sorted out and studied Guizhou folk batik from an academic point of view. These constructive basic works have accumulated a lot of original materials and materials for the collection, preservation and innovation of folk batiks in Guizhou. Later artists such as Chen, Fu Mulan, Pu, Zhou Shiying, Liu Yong, etc. In this paper, the folk batiks in Guizhou in their respective fields are thoroughly and meticulously studied in all directions, and from the height of modern culture, the essence of other art categories is widely absorbed, which pushes the artistic creation level of Guizhou batiks to a new height. Thanks to the efforts of artists such as Chen, Fu Mulan, Pu and Zhou Shiying, the cultural character of Guizhou batik has undergone a revolutionary qualitative change today: it gradually got rid of the small craft plaything attribute and the erosion of commercialization and vulgarization, entered the field of vision of contemporary culture as an independent and high-grade modern art style, and rose from the folk practical craft level to the personalized and creative art level, and truly became a plant. The evolution of Guizhou folk batik to modernity is not only the result of the bold exploration and active innovation of contemporary batik artists in Guizhou, but also the inevitable choice for the survival and transformation of national folk art with strong internal vitality to meet the challenges of the times. It shows that under the collision of eastern and western cultures, it is still a feasible way for China traditional art, including Guizhou batik, to rebuild modernity by exploring the expression forms of modern batik and opening up new modern significance from tradition.

The enlightenment of Guizhou batik from folk to modern times lies in that it not only revives the dying ancient weaving and dyeing printing process, but also provides an effective cultural strategy for dispelling the aggressive invasion of discourse hegemony by western cultural centers.