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Chine’s Traditional Mineral Pigment, Dye the Method and Application Foreground First

Step Research

Jianpei GONG

Nanjing Institute of Art ，China ， Nanking City Huju north road No.15 ，Email:jp99099@sina.com

Abstract

In this study, Traditional Chinese mineral pigment origin,

development and application of technology as a cue,

Enumerates main types of traditional mineral pigments.

This paper discusses the major printing method, adhesive

technology on mineral pigments in textiles, as well as in

other areas of usage. In addition, mineral pigment

development and application prospect in modern textiles

dyeing is put forth.

1. The mineral pigment's origins

We all know what mankind use the mineral pigment (or call

the mineral dyestuff) to dye with textile product most and

early. Have already discovers of most and early make use

ofinged the example of the natural color in China, and can

trace back to the period of old stone age night. Such as:

Discovers with red iron mine powder drawing in the

culture's ruins in the summit of hill hole red of stone bead,

fish bone , animal tooth etc. decorations. Again such as on

the Niang-shao culture the paited-pottery's totem pattern,

and also the natural color that detection make use of the

technique etc. drawing dye. These example although is not

in the textile product on, draw to dye the exaltation of the

color technique from they, and the expanding of color

category wait the aspect, and show the textile product to

dye the technique of conceive with develop the process.

In China, ore with the carbon the black is people to used

for the pigment or dyestuff that apply color most and early,

because they are a having of directly the color's material,

need not to pass by to complicatedly handle and then can

use. Make the person the interested in is, mankind most

and early the exploitation's ore, almost is red, and this is in

China too not exception. China study of ancient relicses to

discover the insides, and discovers the earliestly apply

coloring the pigment besides red iron mine, still have the

vermilion cinnabar. In the Qinghai province the Ledu

primitive society graveyard (belong to the new stone age

inside period with night period) the detection‟s cinnabar,

proof have already dug to take with make use of the

cinnabar in more than 4000s, our ancestry.

The main composition of the cinnabar is a mercuric

sulphide, its color and luster is bright, function stability,

people afterwards and not only used for the pigment of the

clothing's dyeing, painting, and return to be used as the

system medicine with the raw material that make pill.

Deserve on lifting of is, China's ancestries for make the

mineral pigment having than goodly adhere to the ability,

the cover ability, apply color the ability, and at this time

and already controled a the set smash the ore, abrasive

technique. The relevant science scientist analyzed the

Shang Dynasty( early ～ of 17 centry B.C. roughly 11

centry B.C.) grave to inside discovers of vermilion cinnabar

grain, proof our ancestry is only using the stone mortal,

the stone pestle etc. the tool, can have already grind the

vermilion cinnabar grained 10 ～ 3 um. The widespread

usage of these techniques is with the maturity, for the

extensive exploitation the mineral pigment of posterity

people be used as the textile product's dyeing material,

and provide the beneficial term.

2. Main of mineral pigment

In China that ages( invite the 17 centry B.C. the ～ 11

centuries) of Shang-zhou, our ancestry that method can

have already make use various mineral pigment dye to

clothing, and like this the dyeing call “the stone dye”.( the

dyeing of the plant dyestuff is called “the straw and tree

dye”)

Figure 1. Remnants of the embroidery and cinnabar.（The

Western Zhou Dynasty，B.C.1100-B.C.770）

Were used most and early to the dyeing's mineral the

pigment have: Red iron mine, cinnabar, stone-yellow,

Kong-blue, blue-copper mine, powder- tin (again white

lead), the clam-ash, White-mica, carbon-black, gold and

silver etc.

2.1 Red iron mine

Red iron mine, again history for Ochre, main composition

is Fe2O3, reporting the dark redly, in the nature

distributing very and widely, quilt make use most and early.

But possibility is because of the marking that its color and

luster than dark , later on were gradually eliminated, just

be used as the prisoner to just use, arrive afterwards and

even to become the prisoner's synonym.

2.2 Cinnabar

The history that China make use of the cinnabar is very

long, and before said, the primitive society's grave inside

had discoverd cinnabar.Because the conservancy

problem, quilt of period the Shang-zhou of the textile

product dying hasn't real object is discovered. But the

textile product's trace that leave behind from various jades,

bronze utensiles top, can discovers to use the cinnabar.

The cinnabar used for to dye, and not limit at to draw to

dye, and also avail in influence gradually the silk thread,

and then spin and weave the brocade , or used for on the

textile product painting pattern. Also can see out from the

jot downing of in the past ancient works, and the cinnabar

multifariously appear at praise term. Cinnabar that draw to

dye with product, also always pass for is a delicacy.

Manufacturing of Chinese and ancient craftsmans at

vermilion cinnabar with lift the pure aspect, and also

obtained the lots of experience. At creation vermilion

cinnabar of process inside, can appear the scarlet color

that various colors that red, upper level incline towards are

yellow, and the bottom layer incline toward the dark color,

in the center best, but much the cinnabar that sprout is

exactly for scarlet. At afterwards, people return to is

smooth the surface such as the mirror‟s best cinnabar, and

call “the mirror cinnabar”.

2.3 Stone yellow

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Stone yellow is than another mineral pigment that be

used for early .Stone yellow has female yellow with male

yellow two category form ( S3As2·SAs). The color of Stone

yellow is full for Huang to imply red light, color, the pure

and unadulterated, water is good, deep suffer liking of

people.

2.4 Kong-blue

Kong-blue( CuCo3 · Cu( OH)2), the surface is green, and

it is green to is a born copper of bronze utensils surface

namely. Is also well-known malachite in the ore .The

Kong-blue bears the atmosphere function the function

good, and have the green color of the alacrity's jadeite of

gaily-coloured.

2.5 Azurite

The Azurite namely is a blue copper ore(2

CuCo3 · Cu( OH)2), the surface is blue , and again is called

the big blue, Stone blue. and can make the blue mineral

pigment .

2.6 Powder tin

Powder tin, namely is white lead (Pbco3·Cu(OH)2),

popularly call the “ paste powder” in the China

quilt.Because at usage need in harmony with become the

paste's shape, therefore call the “ paste powder”. The

history that China make use of the lead is very long,

bronze vessels the inside have already used the lead with

the copper's metal alloy. In Shang-Zhou period, even and

more early of last home inside sprout lead of tool. This kind

of than white pigment ( dyestuff) that produce with

chemistry method that appear early, at afterwards the

dyeing of the in the past's textile product is with the

widespread application of painting inside, is also one of the

raw material of main inside of modern coating industries.

2.7 Clam-ash

The clam-ash is also traditional white pigment , since used

for the textile product, and also used for to offer sacrifices

to the Sacrificial vessel .At draw to draw or the painting is

convenient to make the dead color or draw side, and make

the pattern gorgeous and outstanding, because of but its

position is very important.

2.8 White-mica

Muscovite, as well call the tough-silk mica, and is the

mineral pigment of a kind of white thin slice

(H2KAl3( SiO4)3), because have the luster of the tough

silk but well-known. The tough-silk mica grinds very small

grain, have the good to adhere to the sex with permeate

the sex, and have good cover up the pigment of the

function's white color. On the “Printing-draw yarn” this is in

the Changsha City Ma-Wang-Dui the cultural object for

No.1 Han Dynasty grave inside discovering, chatoyant and

radiant and white pattern is with white mica to draw of.

2.9 Carbon-black

Carbon-black is mankind to used for the one of the

pigments that apply color most and early. It include the

graphite with pine-soot two category type. From the

Ma-Wang-Dui of the Changsha city the “Printing -draw

yarn” for No.1 Han Dynasty greve can discover, in the west

Han the ages, Carbon-black have already is a dressed

dyinging drawing. The anufacturing raw material of

Carbon-black again there is gain, animal oil to be used as

to build the Carbon-black raw material of with plant oil too

in Tang Dynasty.

2.10 Gold, silvery coating

China's ancestries once make use of the gold and silver

screen or its broken bits, and plus to glue to match, and

make into the gold mire and so forth of coating, and used

for the printing craft and painting. The adornment gold,

silvery coating of the conduct and actions textile product,

can used for the description, type to dye to wait the craft.

Printing craft that West Han is period, the silvery coating of

gold is already mature. The dress skirt of Tang Dynasty

women is with the dress, application gold and silver

coating too extremely extensive. The Sung Dynasty on

behalf is early, and the silvery coating of gold is still popular.

Gold Dynasty is with the silvery coating of Yuan Dynasty,

gold on the dress applied very popular, at be unearthed in

the textile product, application gold color the coating's

printing thing too a lot of. Gold and silver coating in Ming

Dynasty the coating continue to use, make the coating

printing the craft more perfect. The gold, silvery coating

uses in the posterity textile products extensive.

Figure 2. Ma-wang-dui tomb No. three T shaped paintings

(local) （The Western Han Dynasty，B.C.206-A.D.8）

3. The mineral pigment's dyeing, printing

technique

Dye and printing the technique's direct demand, it that

occurrence with develop, is not a human physical life to

come from people beautiful to nature reflect with pursue,

and be used as a kind of adornment art. Along with the

society of evolve, and mankind decorate the effect to

request to dress of continuously increase, make dye with

the contact that textile products the thing and decorated

the product to take place close, dye the technique is from

here but produce.

3.1 The cover with paint

Can calculate, method that primitive mankind usage

mineral pigment to when the textile product apply color,

the usage should be simple to cover with paint to dye, and

namely draw on the dress dress to become the grain with

the pattern after smash, grind, using the water temper the

ore.

3.2 The hua-hui

Outside Zhou Dynasty (invite 11 century B.C.-256 B.C.)

besides draw to dye with influence gradually the craft, still

there is the method of a painting for than for finely, and

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namely use on the spinning thing or clothing in harmony

with good of pattern, wood grain, China ancient times that

pigment, draw the every kind of color call it for “the

hua-hui”. Draw the pattern on the clothing is the clothing's

a characteristic of Zhou Dynasty emperor, and this there is

jot downing of lots of on the every kind of ancient works.

So-called “the hua-hui”, is also part to dye, and it must use

differ from another method that influence gradually. Draw

the pattern's complicated degree and abundant color to

calculate from the Zhou Dynasty and at that timely dye the

liquid inside, and necessarily joined a certain size to make

to increase the dense. Otherwise because of dying the

liquid's bleeding, and can cause the pattern with the color's

faintness, congestion, can't complete the above craft

request.

3.3 Type plank printing

Figure 3. Golden and silver printing yarn（The Western Han

Dynasty，B.C.206-A.D.8）

In the Jiang-xi province' gui-xi, the grave inside of the

spring-Autumn and warring States, had was unearthed

two pieces pare off the size plank, they should use to

proceed the printing. From ancestries that these two

planks that size are last, we can confirm, and at that time

China have already started to use the mineral pigment to

make in to proceeds to print the graphics case. Method

that usage type the version come the printing, its printing

with the size to have following and several kinds:

3.3.1 Convex plank printing

Namely at engrave the way for size for convexly rising the

part, drawing brushing the every kind of color, then

escorting printing of good plank, and exert pressure in the

spinning thing on but formation pattern.

Figure 4. Printing gold and colored lace.（The Southern

Song Dynasty，1127-1279）

3.3.2 Hollow-out plank printing

Namely in the type plank empty place of hollow out ,

directly draw to brush the color with size but get the

pattern.

3.3.3 Calender printing

Put with textile product cover in engrave the piece of the

carved plank for top, its raised carving using ovally or

arc-shaped of good plank to whet to press, rub, make the

textile product to show cave and convex, then at the place

dub outing that bulge draw to brush the size of the every

kind of color.

3.3.4 The wood rolls the printing

Namely engrave to make severals the time side for unit

pattern for can circulating, printing to roll over the wood to

roll the side to draw to add the size, this kind of method to

can continue to print the system the textile product

significantly on the bigger circle wood of circumference.

3.4 printing-apply colour

From west-Han to the Sung Dynasty, always go to the

Manchu Dynasty and qing Dynasty, and return to often use

in China a the kind print to printing, the painting draw both

combinative method, or dye, printing, the painting draw

three combinative printing method, is called it for the

“printing-apply colour ”. This kind of method generally and

first uses the type version to print the system the pattern

conduct and actions of a kind of color the fixed position

firsts, and moreover print to make the other color or draw

again or apply gold, silver...etc..This kind of method than

goodly developed the mineral pigment the cover the

function the advantage that liked, and can proceed what

color lap over handle, from but make the color more bright,

the external appearance is more high-class meticulous.

3.5 Various and fibrous suitable for use

Use the mineral plgment to dye, it is thick and thick that

stamp-tax, its advantage is a color, and before handle

simple, usage function than good, the fiber of more

fundamental cotton, silk, flax, wool...etc. is all and

applicably. Because of but on the clothing's adornment of

the Chinese in the past, this kind of method always were

postponed to use, and become the one of the main printing

techniques.

4. Mineral pigment with glue to match

Because of the function for has noing an affinity, its dyeing

of that mineral pigment and fiber is just thing

reasonableness of deep-dyed. For the solution this

problem, conduct and actions mineral pigment is with the °

between fiber medium — glue to match and then start to

appear. In the ancient works of the Chinese Zhou

Dynasty 《the Zhou-rite· test the work to record 》 inside,

most for in detail jot downed to glue to match the

operation method of Namely :Use a corn for having gluing

the sex with the mineral pigment soak together very and

long hours, pass to ferment the function, and make the

valley grain the appearance for asunder becoming very

small starch grain, then passing heating making a

conversion of starch and mineral pigment to paste, and

produce than goodly glue the sex. When draw this kind of

dyestuff to draw on the decoration, the dry empress is

namely to become to have the starch thin film of the color,

have on the textile product stronger glue to match the sex,

even short time of also can't shed off with the water

contact.

This kind of glue to match a's dyeing method, once used

for to dye silk, painting...etc. the method, and influence

future generations very big, a lot of be unearthed the

cultural object to all confirmed this point. At emergence

version type printing empress, glue to match a starch form

for besides originally possessed excluding, may still have

the kind fuck the sex the gluing of oil.

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5. Mineral pigment usage expanding of scope

Mineral pigment is because of the characteristics of its

oneself, besides on the textile product and dress extensive

usage of quilt outside, in the mural, paint painting etc. the

other realm also get the good development.

5.1 Silks painting（ ellipsis）

5.2 Mural（ ellipsis）

5.3 Lacquer ware（ ellipsis）

6. To mineral pigment application dye in the

modern textile product and considering of printing

Say from a certain degree, the dyeing with printing of

ancient mineral pigment, is modern dyeing with the

pigment's origins. But from the British W.H.Perkin made

the first artificial the dyestuff empress that synthesize, and

the every kind of nature dyestuff namely is gradually

replaced.

At promote the environment ecosystem to protect with

today, mineral pigment that green production, green

consume is on the dyeing, printing of the modern textile

product value with application possibility, also should

become us to quest nature dyestuff with study the one of

the lessons.

6.1 Mineral pigment's function analysis

At the front of in the treatise, we have already known the

mineral pigment conduct and actions the nature of have no

the machine dyestuff, it to have got the long and applied

history, its cover up the ability strong, the color and luster

is full, not easy fade in color, change countenance, source

plentifulness, easy to usage, all and applicably wait the

advantage to every kind of textile product. But also

exsitses to have no the affinity, color species the less the

etc. the bad situation to fiber.

6.2 The mineral pigment's price advantage

The nature dyestuff is especially system that the usage of

the plant dyestuff with expand, and its higher price has

been an important problem to invite its development. With

the winning that plant dyestuff compare, the mineral

pigment is opposite easy, price too cheap have to many,

have to make use of with the expansion's price advantage

with good market advantage.

6.3 The mineral pigment’s applied foreground

We all know, want to make the pigment than goodly

adhere to within the scope of fiber on, and have the good

the cover the function, and bear to bask the function, and

bear the heat function with bear the chemicals etc. the

function, its physics the appearance request the stability,

the grain's size must even, general request at 0.2 ～s 0.5

um, and have the good dispersion function, not unlikely to

coagulate or precipitate.

Moreover and still need to be had with the wet material of

material, the moist material, glue to match the material

with have the certain flow to change the dense material etc.

of increasing of function.

Grinding , melting agent that the development of the

modern and fine chemical engineering technique, modern

dyestuff technique and coating technique, handle, glued to

match the problem-solving path to provide the variety with

the mature technique that can draw lessons from for an

application etc. of nature pigment .Whet the machine to

proceed the wet type such as the adoption sand of grind

the technique, dyestuff that melting agent that mineral

grain handle, sour handle or the machine grind to handle,

and increase its apply color the function etc..

We can make sure, in 21 centuries along with the

technique of modern dyestuff, pigment science of

continuously develop, and study deep to nature dyestuff

along with us into, every kind of mineral dyestuff is under

with it that variety went with to should help first's match,

not only independent, or match with the nature plant the

dyeing of dyestuff application at various textile products

with the printing and dyeing, in the synthetic fiber, building

the coating, deckle, plastics dye, the metals spray to draw

to wait the realm to also get the good development.

Reference:

[1]zhu jiliang.The baanch of learning pigment craft[M].Beijing:

Chemistry Industry publishing house,2001

[2] Lee shizhen ( Ming Dynasty ). the herbaceous detailed outline

[M].Beijing: people hygiene publishing house,1975

[3] Zhang zigao. Chinese chemistry history draft

[M].Beijing:science publishing house,1964

[4]natural science history graduate school.Chinese and ancient

technology achievement[M].Beijing: Chinese youth publishing

house,1978

[5] Song yingxin( Ming Dynasty) .nature's work open the

thing[M].Beijing: Guangzhou:gangdong people publishing

house,1976

[6] Shanghai City spin and weave the science graduate school.

Spin and weave the history words[M]. Shanghai :Shanghai

science technique the publishing house,1975

[7]Wang buomin, Chinese painting history [M].

Shanghai :Shanghai people art publishing house,1982

[8] Chen weiyi. China spin and weave the science technique the

history[M].Beijing:science publishing house,1984

Author

Gong Jianpei (1961 -), male, Professor, Nanjing Arts Institute

School of design, master tutor, Wuhan University of Technology

College of art and design in reading a doctor, mainly engaged in

textile art design and theory research.

8ISS Symposium-Poster: Traditional

287

Nantong Blue Calico Dye House and Traditional Crafts

Yi ZHANG

Academy of Art and Design, Nanton University, Nanton 226007 ,China，Email: zy519@hotmail.com

南通蓝印花布的老染坊及其技艺传承

张毅

南通大学，艺术学院，江苏南通，226007

Abstract

The region of Nantong erjia is "intangible cultural

heritage"——the cradle and design and production base of

nantong blue Calico. There is only three traditional Blue

Calico dyehouse currently. Because of market and

production design problems，these old dyehouses also

were faced with difficulties of development. The problem of

how to inherit traditional techniques and crafts for Nantong

Blue Calico is having the Commercial value and fashion

production design，then“packaging” Blue Calico，in order to

doing mature commercial operation to the blue calico

products.

摘要

南通二甲镇地区是“非物质文化遗产”—南通蓝印花布的发源地

和设计生产基地，目前仅存三家传统蓝印花布老染坊，由于市场、

产品设计等方面的原因导致这些蓝印花布老染坊目前都面临发展窘

境。破解南通蓝印花布传统技艺传承难题在于：对蓝印花布产品进

行时尚而有商业价值的“产品设计”，并以此“包装”蓝印花布，打造

时尚蓝印花布商业化成品设计，从而对蓝印花布产品进行成熟的商

业化运作。

江苏南通的蓝印花布传统印染技艺是二○○六年五月二十日国

务院国发〔2006〕18 号公布的中国“首批国家级非物质文化遗产”，

名录编号为：374，Ⅷ—24，南通蓝印花布印染技艺。

南通古为长江中的沙洲，后渐成陆地，南临长江，东接大海。

境内土地肥沃、平缓，河网密布。年均温 15 度，年均降水 1000

毫米。非常适合棉花的种植和纺织品的生产加工，江苏南通至明代

时已成为苏北地区的重要城市，随着植棉业的发展和家庭手工土布

业的兴盛，很快成了大宗棉花土布的集散中心。

“宋代在印花方面有二项重要的改进，……。另一项则用石灰和

豆粉调成浆用于防染印花，为在天然蜡产量较少的地区推广物理性

防染印花生产，奠定了技术基础。在宋代，用这种方法生产的产品

叫„药斑布‟”（1），南通蓝印花布从宋代开始就有相关记载，至清代

已经成为当地重要的产业，《光绪通州志》载:“种蓝成畦,五月刈日

头篮,七月刈日二蓝,甓一池水,汲水浸入石灰,搅千下,戽去水,即成

靛。用以染布,曰小缸青”（2）。

南通的蓝印花布生产技艺保存至今得益于的独特地理特征，“江

苏南通因交通较闭塞，受到外来的冲击和影响相对小一些，有些乡

镇还相继保留着一部分民间蓝印作坊”（3），虽地处经济文化发达的

长江三角洲地区，但是交通却由于江海纵横相对封闭， 使南通二甲

镇地区至今保留了传统的蓝印花布生产作坊，成为工业时代传统土

布的“活化石”，是江苏南通引以为自豪的地方文化名片。

1． 南通现存传统蓝印花布染坊的发展简况

南通二甲镇地区目前具备一定生产规模的蓝印花布生产作坊有

三家，分别是：曹裕兴染坊；通州市（南通地区县级市）二甲印染

厂；通州市建烽蓝印工艺品厂（正兴染坊）。其中曹裕兴染坊和正兴

染坊都为家庭式生产作坊，这三家蓝印花布染坊之间既有相互连接

的渊源，又各自为阵并各有特色。

南通二甲镇位于南通市区东部 20 公里，为百年老镇，在清代，

开荒者来此烧盐垦荒，开设南北走向的二甲界河，故得名二甲镇，

是江苏南通蓝印花布的主要生产销售重镇，南通蓝印花布就发源于

南通二甲镇地区。解放前就以印染技术发达著称，有大大小小几十

家私人染坊，其中以曹裕兴染坊、宏裕染坊、周锡武染坊等规模较

大，是南通地区有名的染坊字号。1954 年 5 月南通县政府（现通

州市，县级市）把这些民间染坊进行公私合营，整合曹裕兴染坊、

宏裕染坊等染坊和民间小作坊以及“印花担”（多为农民，农闲时挑

“印花担”走家串户为顾客加工印花，“印花担”由刮印花工具、花版、

灰浆等构成），成立了南通县第一家地方国营二甲印染厂，原宏裕技

术师楼仲康为厂长，产品以蓝印花布生产为主，主要满足内销需要。

自 1973 年开始有少量蓝印花布向欧美日出口，至 1979 年前后达

到高峰，主要出口市场为日本市场，年产量达到 10 万匹（每匹布

12 米），至 1980 年代中期开始，由于日本市场的疲软蓝印花布的

产量也渐渐走低。

这个时期技术实力雄厚的南通县二甲印染厂在上级相关部门的

安排下，还帮助南通地区建立了南通市蓝印工艺厂和启东县汇龙卫

东蓝印工艺厂，并为企业培养了大量人才，目前的蓝印花布中国工

艺美术大师吴元新先生就是在这个时期作为启东厂的技术人员接受

了蓝印花布制作技艺培训。这时的南通县二甲印染厂汇集了南通地

区蓝印花布技艺的各种优秀人才，并通过接受日本客商的订单，在

技术上和图案花型上都有了新的发展，成为南通地区蓝印花布的技

术与加工生产中心。

1990 年代，由于日本的泡沫经济破裂，日本经济形势急转直

下，直接影响了日本人民传统服饰“和服”的消费，部分日本人限于

经济能力被迫接受制作简单价格低廉的非传统手工印染型和服，这

直接导致了南通县二甲印染厂日本订单的大幅缩减，时至今日，日

本人民在纺织品消费观念上已经发生了重大变化，年轻人热衷于西

方流行文化，对日本传统民族服饰文化的兴趣大减，因此，南通蓝

印花布工厂接受的日本客商订单再也没有达到 1980 年代的水平。

在此背景下，2001 年二甲印染厂进行了改制重组，原曹裕兴

染坊传人曹建雄曹汉荣兄弟离开工厂，重新开始恢复曹裕兴染坊，

而王振兴作为印染厂的主要技术人员在退休后创立了通州市建烽蓝

印工艺品厂（正兴染坊）。

自此，在通州市二甲镇形成了通州市二甲印染厂、曹裕兴染坊、

正兴染坊这三家主要的蓝印花布生产厂家，二甲镇也成为江苏南通

地区仅存的传统蓝印花布生产基地，他们的蓝印花布生产尽管从技

艺上可以说是一脉相承，但从目前的发展来看也都各具自己的艺术

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特色。

2． 南通传统蓝印花布染坊的生产现状

2.1 通州市二甲印染厂

通州市二甲印染厂位于二甲镇的南端，目前的企业主曹炳康先

生 1979 年进入二甲印染厂开始做学徒，学习蓝印花布蓝靛染色等

传统工艺，先后师从周锡武师傅、曹吉寿师傅、曹汉林师傅，之后

从工人成长为车间主任，至 1989 年成为二甲印染厂厂长。

目前工厂的生产分为两大块，一块就是传统的蓝印花布，另一

块是现代印花和染整处理，曹先生坦言目前蓝印花布的生产销售比

较困难，现在的主要订单来自上海等国内商店或旅游地，这些订单

一般来说量小价低，由于工价低企业生产起来相当吃力，这也直接

导致了青年人不愿意从事蓝印花布的生产，尽管企业多年来也培养

了好几批人才，但是能够留下来的很少，目前在企业的是已经退休

的老技术骨干，由于蓝印花布技艺的学习需要学徒通过多年积累丰

富实践经验，因此蓝艺人才并不是一朝一夕可以造就的，而目前的

人才断档现象的确令人忧虑。

曹炳康先生认为目前蓝印花布的现状是暂时的，该企业现在的

主要利润是依靠现代印花和染整处理对外加工，传统蓝印花布的生

产仅仅是技艺保护而不至流失，希望能顺利挺过这段较为困难的时

期，蓝印花布的消费市场还是有可能被再次打开的，随着人民生活

水平的提升，消费观念的转变，人们还是会再次把眼光转向蓝印花

布等传统印花布艺。

图 1. 曹裕兴染坊 1950 年代以前就在南通二甲这条街上

图 2. 通州二甲印染厂厂长曹炳康先生

通州二甲印染厂目前的蓝印花布复色印花是其较有特色的产品，

该产品通过染色中对图案中部分纹样进行染色次数的控制，从而达

到染色的深浅色层次相间的色彩效果，该技法丰富了蓝印花布的染

色技巧，视觉效果较为新颖，使传统蓝印花布富有独具一格的色彩

韵味。

2.2 正兴染坊

王振兴先生从事蓝印花布技艺近 50 年，现年 68 岁，1958 年

就进入二甲印染厂，开始学习蓝印花布制作技艺，师从周锡广师傅，

曹锦琪师傅，以及托缸师傅丁纪恩，学习使用传统蓝靛的小青缸染

色生产蓝印花布，多年来的生产实践使王振兴先生成为二甲印染厂

的技术骨干，其 1990 退休之后，被南通市工艺美术研究所，南通

市旅游工艺品研究所聘请为技术专家，指导蓝印花布的设计与生产，

后建立通州市二甲建烽蓝印工艺品厂（正兴染坊）。

图 3. 正兴染坊王振兴先生与小青缸

目前，正兴染坊由王振兴先生掌舵，其长子担任蓝印花布的设计与

制版工作，次子是刮印花工艺的行家，三子擅长传统小青缸染色工

艺，其订单主要是来自日韩客商。

正兴染坊的最大特色在于坚持传统小青缸染色工艺，并在染坊

中建有全国不多见的蓝靛小青缸，“作为家庭作坊式的私营企业，他

们因地制宜地保持了传统家庭式染坊的生产方式，坚持以传统的“小

青缸”、“土靛”进行染色，以传统的特色，传承的魅力吸引了一大批

顾客。”（4），正兴染坊擅长设计和染制蓝艺装饰壁挂，其制作的多

次染色蓝艺装饰壁挂，设计巧妙而富有美感，由于增加了深浅层次

色彩变化，使普通单色蓝印花布产生了新颖独特的丰富色彩效果。

图 4. 王振兴和他种植的蓝靛草

图 5. 王振兴蓝艺壁挂作品

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图 6. 王振兴的长子在刻花版前的拷贝印花纹样

图 7. 王振兴先生在进行蓝印花布的手工染色

2.3 曹裕兴染坊

曹建雄曹汉荣兄弟的曹裕兴染坊是南通蓝印花布生产的老字号，

位于二甲镇的西北端，据曹建雄先生介绍，他们家的曹裕兴染坊始

于其爷爷的爷爷，至今已有七代人，其祖上是做裁缝的，后来才转

行蓝印花布制作，开始是在通州县余东镇开设染坊，到其爷爷曹国

忠一代来到现在的二甲镇开设染坊。至解放前，曹家的曹裕兴染坊

是南通地区众多染坊中较大的一家，并以“裕国财源通中外，兴隆事

业达华洋”为字号宗旨。1954 年公私合营，曹健雄的父亲曹喜山作

为蓝印制版技术人员，其姑母曹淑贞作为资方经理加入二甲印染厂。

曹建雄先生自幼喜爱美术，初中毕业后跟随父亲曹喜山学习蓝

印设计与制版工艺，1964 年开始业余时间都用来实践蓝印花布的

设计与制版，1978 年在经历上山下乡之后进入二甲印染厂，担任

蓝印花布的设计与制版工艺师，历任二甲印染厂蓝印车间主任、生

产科长、工会主席，至 2001 年企业改制，曹氏兄弟离开工厂，开

始恢复曹裕兴染坊。其实他们早在 1995 年开始就已经在家里生产

经营蓝印花布，并于 1999 年申领了工商营业执照，同时购买了现

在仍在使用的生产场地。染坊由曹健雄负责技术与生产，曹汉荣负

责经营。

图 8. 曹建雄先生在刻花版

目前的曹裕兴染坊由于较好地解决了蓝印花布技艺传承问题，

生产和销售状况都相对较好，不但稳固了原有的日本客商订单，还

发展了上海、南通、南京、泉州等装饰布、印花布及蓝艺工艺品订

单，从原来的日商订单占 80%，到现在国内外订单平分秋色，说明

国内蓝印花布的销售有所抬头，他们的染坊正在抓住这个闪现的商

机。

曹建雄先生谈及曹裕兴染坊蓝印技艺的传承时指出，从技术上

来说，目前的蓝印花布在品种、面料和设计题材上相对传统来说已

经有了很大发展：

① 目前的消费市场主要是日本、台湾、香港等出口市场和内销

市场两大板块构成，内销市场正在走强，有利于蓝印花布的

继承发展。

① 从染色工艺传承改良上看，传统意义上的纯粹蓝靛染色生产

效率很低，只适合小批量有特殊要求的生产，目前采用国内

生产由日商检测通过并认可的“还原蓝靛粉”染色，使蓝印花布

生产的效率得到提升。

曹裕兴染坊的技术特色是蓝印花布制作技艺全面，可以生产所

有蓝印花布品种，并在设计与生产中多有创新，他们设计和生产的

双面印纹样蓝印花布，是蓝印花布工艺最复杂技术含量最高的产品，

其图案精美工艺精湛。

图 9. 漏花版刮浆防染工艺（曹裕兴染坊）

6

图 10. 刮浆后晾干（曹裕兴染坊）

3． 蓝印花布技艺传承成为南通传统蓝印染坊亟待破解的难题

从目前江苏南通仅存的二甲镇地区蓝印花布民间染坊的生产与

销售情况来看，三家染坊中“曹裕兴染坊”的情况相对好一些，说其

好其实只是相对的，曹裕兴染坊一年的净收入大致可以达到 10 万

元人民币，其常年投入在生产一线的人力有五-六个人，即曹建雄（设

计制版）、曹汉荣（经营）、曹庆峰（看缸染色）、江荣（曹建雄

女婿，负责营销）、两位近亲担任刮花师傅，遇到订单多的时节还

要再请几个人工，这样一计算就可以看出蓝印花布生产的利润较低，

平均每人才不到 1.5 万元的年收入，其市场商业价值与蓝印花布的

艺术价值、文化价值相比是不匹配的，如此低的收入当然不能吸引

年轻人投入这个行当。也正因为如此，对于南通二甲的蓝印花布民

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间染坊，政府在“非物质文化遗产”方面的保护和税收等具体优惠政

策的支持就显得尤为必要。

从技艺传承上看，蓝印花布的两大难点在于图案设计和染色“看

缸”，传统染色是必须保留的，这是蓝印花布的特色所在，而从蓝印

花布的设计与制版来看，南通二甲镇地区蓝印花布民间染坊只有曹

裕兴染坊现在正在着手培养自己的儿子曹庆峰和女儿曹晓峰继承家

族事业，他们都是美术科班出身，曹庆峰长期从事蓝印花布染色“看

缸”等实际生产，目前曹建雄正在培养曹庆峰学习蓝印花布的图案设

计与制刻版技艺，曹先生认为他们家族的蓝印事业会由子女共同继

承发展下去，并对曹裕兴染坊的重振雄风充满期盼。而对于正兴染

坊和通州市二甲印染厂来说，尽管王振兴先生和曹炳康先生均身怀

传统蓝印花布的精湛制作技艺，但是这些宝贵的技艺如何传承其未

来充满了不确定性。

对于南通二甲镇地区这三家蓝印花布民间染坊来说，他们均掌

握了正统的蓝印花布传统设计与生产技艺，并且在继承的基础之上

有新的创造和发展，从技术能力上看，他们目前的蓝印花布的设计

与生产代表了目前国内蓝印花布的最高水准，但是仅有蓝印花布的

设计生产技术还远远不足以支撑这个传统纺织品种的发展。蓝印花

布还仅仅是“布”，是纺织品的基础产品，如果蓝印花布的下游成品：

服装、家纺、装饰品等没有成熟的商业化产品，上游的蓝印花布如

何能有销路？因此从这个角度上来看，目前南通二甲镇蓝印花布染

坊只掌握了“布”的设计与生产，只有当他们掌握了商业化蓝印花布

“成品”的设计与生产，才能真正使蓝印花布成为市场上有吸引力的

商品，才能真正把握蓝印花布的发展，蓝印花布传统技艺传承的难

题才能迎刃而解。

4．小结

尽管国务院 2006 年 5 月就已经把南通蓝印花布制作技艺列入中国

首批非物质文化遗产名录，但从保护蓝印花布技艺传承的实际效果

来说还远远不够，虽然也建立了蓝印花布博物馆等物质文化保护设

施，其实并没有把力量用对，“民间蓝印花布制作工艺是原始的、简

单的，但又是科学的、复杂的。要有效地保护好民间蓝印花布，除

其代表作品外，它的传人、制作工艺都要很好地保护和传存下来。”

（3），真正需要保护的是源自民间的“非物质文化遗产”—蓝印花布

制作技艺，“非物质文化遗产保护”落实到实处应该是要保护一批身

怀绝技的蓝印花布技艺传人，并以此保证蓝印技艺的传承。也只有

这样，南通仅存的二甲镇民间蓝印花布染坊才有可能走出无人传承

的阴影，步入良性的商业化轨道，在政府支持和成功商业运作之下

蓝印花布技艺得以传承和发展。

作为中国仍然保存蓝印花布较为完善技艺的江苏南通二甲镇民间染

坊，如何在市场经济形势下，继承和发展蓝印花布的设计与生产是

非常值得探讨的课题，笔者认为蓝印花布技艺作为人类非物质文化

遗产，其传承的根本还是在于如何进行成功的商业化运作：对蓝印

花布产品进行时尚而有商业价值的“产品设计”，并以此“包装”蓝印

花布，打造时尚蓝印花布商业化“成品设计”，吸引高端的时尚消费

者，并形成稳定的消费群，从而进行成熟的蓝印花布产品的商业化

运作，这是破解蓝印花布技艺传承的良方。

参考文献：

（1）杨栋梁 我国近代印染业发展简史 《印染》[J] 12/2008

p48

（2）陈先进 古朴清雅赋蓝白 巧染棉布寄乡情 《艺术百家》[J]

2/2003 p12

（3）李永 探究南通民间蓝印花布 《东南文化》[J] 1/2005

p58

（4）龚建培 江、浙两省自然染色企业现状的调查与分析 《丝绸》

[J]7/2004 p46

基金项目：2010 年度教育部人文社会科学研究规划基金项目《家

用纺织品艺术设计应用理论研究》（10YJA760079）”

作者简介

张毅 （1967—）江苏省南通市人，毕业于无锡轻工业大学纺织服

装学院服装设计系，苏州大学设计艺术学硕士，现南通大学艺术学

院教授，硕士生导师，南通大学家纺艺术设计研究所所长，高级家

用纺织品设计师，中国流行色协会理事，主要从事艺术设计教学和

纺织品设计研究。

南通大学艺术学院

学校地址：江苏省南通市外环东路 999 号 226007）

通信地址：江苏省南通市城山路 28 号家和花苑 3-302 室

邮编：226006

FAX：0513—85125639

TEL：13 515 203 283

电子信箱：ZY519@hotmail.com ，958495982@qq.com

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291

Study on the Sewing Technology of Zhuizuo Blouse in Chongwu

Jing LUOa, Rongrong CUIb, Xin WUc

aTextile and garment college, Jiangnan university, Wuxi,Jiangsu, Email：lj218061@163.com

bTextile and garment college, Jiangnan university, Wuxi,Jiangsu, Email：cuirong3369@sina.com

cTextile and garment college, Jiangnan university, Wuxi,Jiangsu, Email：qxmwx@163.com

崇武缀做衫缝制工艺研究

罗静 a，崔荣荣 b，吴欣 c

a 纺织服装学院，江南大学，无锡，江苏，Email：lj218061@163.com

b 纺织服装学院，江南大学，无锡，江苏，Email：cuirong3369@sina.com

c 纺织服装学院，江南大学，无锡，江苏，Email：qxmwx@163.com

Abstract

The clothing in Chongwu is the most distinctive and

representative units in the coastal areas of Hui‟an eastern,

and its structure and sewing contain the important content

of local conditions and customs，as well as the folk culture

in local.This article has reseached Chongwu clothing

instancing Zhuizuo blouse with distinctive characteristics

and strong representative though field research.The

research shows that the Zhuizuo blouse has been cutted

while sewed,and it contains the basic steps such as fabrics

purchasing,cutting,sewing,ironing,and the main stitch

methods are lock stitches, hand hemming, trim and bar

tacks.then combined with the structure characteristics and

sewing process characteristic of clothing, we can analysis

that the Zhuizuo blouse has the creation concept of thrift

and advocating harmony,and manifests the working

people‟s spirit desire and moral code‟ s worship that

contain in clothing.

摘要

崇武服装在惠安东部沿海地区最具特色与代表性，其结构与缝制工

艺蕴涵着当地风土人情，民俗文化的重要内容。本文通过田野调查

的形式，以特色鲜明，代表性强的缀做衫为例对崇武服装进行了研

究。研究表明，崇武缀做衫采用边裁边缝的传统作业方式，包括面

料采购、裁剪、缝制、整烫等基本步骤，主要针法和技法有平缝针、

缲针、滚边和套结四种，结合服装结构特征和缝制工艺特色，分析

得出崇武缀做衫拙朴节俭、崇尚和谐的造物观念，体现出劳动人民

以服饰为载体的精神寄望以及附丽其上的对“礼教”的尊崇。

缀做衫是福建崇武镇惠安女在上世纪四五十年代所着的一种中

式挖襟衫，因其衣身胸背处由若干色布缀接而得名【1】。早期的崇武

先民为适应渔业生活方式，他们以土布染红木汁缝制上装和下裤，

俗称“讨海衫”，这种衣着有利于海上生产和抗御狂风暴雨，同时也

为崇武服装奠定了原型基础。随着历史的推进和发展，崇武服装先

后经历了接袖衫、缀做衫和节约衫的演变，本文在大量文献分析的

基础上，以田野调查的形式，对崇武缀做衫这一“承上启下”的过渡

形制进行深入研究，通过拍照记录一位民间老艺人的实物缝制过程，

来客观阐述缀做衫的制作材料，缝制步骤和主要的针法技法，同时

结合服装结构特征和缝制工艺特色，分析探讨崇武缀做衫所体现的

传统造物观念，反映其作为精神载体所蕴含的深层文化。

1 缀做衫的款式结构特征

崇武缀做衫由接袖衫发展而来，其后演变成现今普遍服用的节

约衫式样，他作为特定历史时期产生的过渡形制，在款式结构变化

上起到“承上启下”的作用，如图 1 所示。

a 正面图 b 背面图

图 1.崇武缀做衫款式结构图

崇武缀做衫的款式特征为：衣身呈紧胸宽下摆的“板斧” 【2】形

态，衣长适中，衣沿摆幅大，臀围宽度加阔并往外弯展，袖子较合

体，袖长至腕部；衣身以褐红苎麻面料为主，前胸和后背拼接两块

黑色方形绸料，在方形的四角和领根处各镶饰一块三角色布，袖口

环绕两圈花边布纹样。结构特征为：圆立领，有领贴边，右衽大襟，

大襟贴边；前后中破缝，袖子为接袖结构；两侧开叉，侧缝及下摆

内贴边；分割形式有横分割、竖分割和斜线分割。

2 缀做衫的缝制工艺流程

2.1 缝制工具和辅助材料的准备

手工针，顶针，缝线，浆糊，剪刀，熨斗，划粉，尺子，水，

领圈模子，面料，贴边花布，垫布。

2.2 缝制工艺流程图

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崇武缀做衫采用边裁边缝的传统作业方式进行生产，包括面料

采购，裁剪，缝制，整烫等基本步骤，图 2 绘制了崇武缀做衫缝制

工艺流程图，使其工序流程一目了然，清晰易懂。

2.3 主要缝制工艺步骤

根据图 2 所示的缝制工艺流程图，择要介绍崇武缀做衫的缝制

工艺步骤。

2.3.1 准备面料

早期用于缝制缀做衫的麻型面料门幅较窄，约为 1.4 尺（46cm

宽）。取面料 10 尺长，拦腰均匀截成两半，形成两块长 5 尺，宽

1.4 尺的方形备料。为方便起见 ，下文一律换尺度单位为 cm 表示。

2.3.2 取纵、横向尺寸

所谓取纵、横向尺寸，是指以人体各长度、围度为依据，在面

料上截取相应尺寸大小，以便于裁剪。将两方形面料反面相对，在

1／2 匹长处沿纬向折叠，熨平面料正身，如图 3 所示，按先取纵

向尺寸，后取横向尺寸的顺序，在面料上确定衣身主要部位的位置，

适当调整侧缝、下摆的弧度和起翘量，用划粉勾勒轮廓，按画好的

轮廓线两层并作一次裁剪大身，以确保布边平整。

图 2.缀做衫缝制工艺流程图

图 3.取纵、横向尺寸

掀开第一层面料，在第二层上确定里襟线和大襟的位置（见图

4）。

图 4.里襟线和大襟

大襟线的上止口与里襟线重合，呈纬度零角，其波浪弧线、侧

缝线和下摆按参考尺寸画出并裁剪，这种排料方式可有效提高面料

的利用率，使得物尽其用。

2.3.3 裁接袖

受布幅宽度所限，缀做衫在袖子方向需拼接 1∕2 小臂的量，以

补给袖长的不足，如图 5 所示，拼接的袖子即“接袖”，与江南一带

大襟拼接衫的“找袖”【3】形制相同。

图 5.接袖

根据图 4 中衣身富余的边角料，按图 5 标识的尺寸裁成接袖两

个以备用。确定好衣身和袖子的尺寸后，将领圈模子对折并置于面

料左上顶角，沿模子边缘画出领圈线。

2.3.4 裁领贴边

领贴边不但能增加服装的尺寸稳定性和耐磨强度，沿其边缘走

针一圈，在衣身正面留下的线迹还能起到装饰作用。

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图 6.领贴边

沿丝绺方向对折贴边花布，同时对折领圈模子，将 1／2 领圈

模子与贴边花布折线对齐，沿着模子外围拓出领圈（见图 6）。在正

中打剪口，以此为对位记号，将裁剪好的领贴边沿对折线展开并熨

平，外圈布边回毛 0.7cm 并刮浆固定，内圈为毛边。

2.3.5 缀接色布

缀做衫最典型的特征是胸背处的色布缀接，如图 7 所示，按标

识的顺序将三角色布贴缝于侧缝小衣片的四角，把裁剪好的方形绸

料与小衣片在 2 处平针缝合，其次拼缝横向分割线，使前后衣片缀

接完整，最后在领根围处以相同的方式贴缝三角色布。

图 7.缀接色布

在实地调研中经观察大量的实物标本发现，缀做衫胸背处的三

角色布贴缝遵循对角对称的原则，即对角线上的三角色布同色等大。

2.3.6 缝大襟滚条

大襟滚条由裁成宽约 2cm 的斜纱滚条和 2.5cm 的斜纱贴边制

成。将滚条和贴边正面相对，手工缝合并翻转熨平，使缝合线对准

大襟止口线，刮浆固定 2cm 宽滚条，并将其与大襟缝牢。将 2.5cm

宽的贴边翻转至大襟反面，刮浆固定，并暗缲于大襟之上。由于滚

条和贴边在大襟止口线处缝合，加之大襟止口的布料厚度，翻转后

形成细镶滚的装饰效果(见图 8)。

图 8.大襟滚条

2.3.7 基础组合缝纫

熨平衣片正身，缝合后中破缝，将做好的领贴边沿折线展开，

熨平，使剪口对准后中破缝，刮浆固定，并缲缝于衣身。将画好的

领圈沿边线裁成，预留缝份 0.7cm。在图 4 中，利用边角料裁出里

襟拼布，并沿里襟线与衣身缝合。平铺正身衣片，缝合图 5 中的接

袖，将缝份向衣片一侧扣烫，袖口贴边回毛 0.7cm，采用刮浆工艺

固定，并缲缝于接袖上。

2.3.8 缝摆缝贴边、大襟贴边

摆缝贴边、大襟贴边置于侧缝、摆缝开衩和大襟处，起到加

固衣身、稳定丝绺和尺寸、使大襟硬挺饱满的作用。取一块贴边花

布，按 45°斜丝裁成如图 9 所示的纱条，在摆缝、大襟线曲度较大

的部位设计褶裥 5—7 个，使纱条弯转成曲线形态，褶量约为 1cm，

贴边回毛 0.7cm，刮浆固定并熨平。

图 10 标识了侧缝贴边、大襟贴边的具体位置和尺寸，将做好

的贴边按上图所示与衣身缝合。完成贴边工艺后，将衣身与大襟正

面相对，缝合前中破缝。以肩线为轴对折衣片，缝合侧缝线，预留

出两侧的开衩。

图 9.侧缝贴边

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图 10.贴边部位

2.3.9 做领子，绱领

与现代结构设计不同，缀做衫的领子为完全直领。所谓完全直

领【4】，是指经纬向平直，没有起翘量的立领式样（见图 11-1）。

图 11-1 领子的尺寸 图 11-2 领子的缝制

取面料和贴边花布各一，熨平并反面相对，按上图尺寸画出领

子净样，四周缝份为 0.7cm，画毛样，裁剪。将领面和领里正面相

对，沿净样缝合，预留出领下口的缝份，并在下口线正中打剪口，

如图 9-2 所示。将缝合的领子翻转至正面，使领面与衣身正面相对，

采用“拉盖式”方法绱领【5】。

2.3.10 缝下摆贴边

缀做衫的下摆贴边采用与侧缝贴边类似的形式缲缝于衣身。为

增强服饰美观，取与衣身三角色布一致的绿、紫面料各一，裁成宽

2cm 的斜丝滚条（见图 12）。将滚条在前中破缝处相拼，展开并直

熨分缝，使其与衣身下摆正面相对，平针缝合，缝份为 0.5cm。翻

转滚条至衣身反面，折转时滚条外露 0.5cm 的量，起装饰和协调

作用。

图 12 下摆贴边

取贴边花布一块，以下摆宽为长裁出贴边，宽 4.5cm，四周缝

份为 0.5cm。将贴边与滚条正面相对，采用平针缝合，缝份 0.5cm。

分烫缝份后，将其转至正面，采用与侧缝贴边一致的方法设计褶裥，

使下摆弧度自然圆滑，褶裥以前中破缝为界均匀分布两侧，褶量大

小取 1cm—1.5cm 为宜。完成褶裥设计后，向内折转贴边缝份，

缲缝于衣身。

2.3.11 衣片后整理

衣片后整理包括缝制纽根，整烫大身。

缀做衫的纽根是指分布于领口、大襟线和侧缝的中式一字扣。

颗粒比按照 2：2：4 的形式缝制。为使衣身平整光洁，用布头蘸取

少量净水，拭擦布面褶痕，取垫布铺于衣身上，将熨斗在适宜的温

湿度下加压整烫大身，以水分基本烫干，衣服笔挺顺直为宜。

3 缀做衫的造物观念和精神载体表现

3.1 工艺技法在款式结构上体现的造物观念

缀做衫以家庭女工的方式相沿成习，服装的款式结构基本不变，

其成型效果直接取决于裁剪缝制方式，在生产过程中，工艺技法从

款式结构层面体现出缀做衫拙朴节俭，崇尚和谐的造物观念。从排

料上看，缀做衫讲究经济节俭的排料方式。受面料幅宽所限，缀做

衫将窄幅面料沿纬向折叠，形成上下等大的四层，其后取纵、横向

尺寸并裁剪大身，这种裁剪工艺构成缀做衫前后中破缝、前后左右

对称的基本结构，在第二层面料上，里襟和大襟以互套的方式进行

排料裁剪，同时利用侧缝、下摆处的边角料裁成接袖，以此提高面

料利用率。再者，缀做衫的缝制广泛运用滚边和贴边工艺，如大襟

滚边，大襟贴边，摆缝贴边和下摆贴边等，这种工艺技法可有效提

高服装的耐磨强度，同时起衣缘饰边的效果，满足人们审美需求和

劳动实用需求，从侧面反映出惠安先民朴实节俭的一面。另外，缀

做衫采用全手工缝制，由于生产条件落后，没有缲边机械等辅助设

备，面料边缘均为毛边，在缝制过程中以平缝针为主，结合缲针，

少量的滚边和套结，显现出缀做衫打下时代烙印的拙朴特性。

缀做衫属于中式挖襟衫式样，以前后中破缝为界左右对称，给

人以稳重、严谨、规范的视觉感受，大襟款式线以柔和的波浪弧度

打破这种略显呆板和沉寂的格调，使服装静中有动，动静结合。衣

身胸背处的方形绸料和三角色布成为视觉中心，其大小和色彩满足

对角对称的原则，同时领根围的三角色布与之遥相呼应，下摆滚边

以中缝为界，其色彩与三角色布相呼应，整体达到对称与均衡的效

果。此外，大襟款式线、侧缝线与一字纽根一起，形成流线型的韵

律美感，为保护服装面料的完整性，突出崇尚自然和谐的朴实美感

和造物观念，服装不注重尺寸与身体的维度的契合，当袖口偏大时，

直接缲缝差量。

3.2 缀做衫作为精神载体的表现

与接袖衫和节约衫相比，缀做衫的典型特征在于其繁琐的镶拼

工艺，服装在结构上注重面块的分割和异色异质面料相拼，据史料

记载，缀做衫是作为婚嫁穿用的特殊服饰，只有洗旧发白后才能当

作日用常服，这种镶拼工艺从某种意义来讲带有祈福象征寓意，另，

缀做衫以横竖分割为主，其胸背处的方形绸料以中缝为界上下微微

错开，呈左高右低的形态，用以象征男尊女卑的等级观念，表达人

们对礼教的尊崇。从族群起源来看，惠东先民与古百越族同处一个

文化类型——几何印纹陶文化，而古百越族的图腾崇拜是蛇种，崇

“蛇”纹样多体现为曲折纹，锯齿纹，叉形，网月形等，这些纹样均

从百步蛇背上的三角纹演变而来【6】。缀做衫作为惠安先民的服饰品

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类，其款式细节处处流露出蛇图腾崇拜的迹象，如衣身三角色布的

缀接，菱形网纹的套结等。

据《惠安县志》记载，惠安女有长住娘家的陋习，加上传统思

想的沿袭，她们大多没有接受过文化教育，也没有其他娱乐方式，

而当地妇女素来自己裁剪缝制服饰，她们在服饰细节上免不了根据

自己的喜好加以缝制修饰，使其带有强烈的主观意识和思想内涵。

服饰刺绣更是以独特的精神物化形态参与惠安女的生活，不但作为

精神寄托和安慰，也是考量和炫耀妇女心灵手巧的标准。缀做衫作

为刺绣的物质载体之一，主要表现在领围纹样的设计上，缀做衫的

领围以小立领式样独立成片，穿戴时直接扣系在领圈上，可拆洗更

换。这些纹样以渔家素材为主，如鱼纹，蟹纹，渔民等，源于情感

的升华，大多寄予对美好生活的向往，带有祈福平安和丰收的愿望。

纹样以直绣的方式平行排比，与名绣的工整娟秀相比，显得拙朴而

生动。

4 结语

服装缝制工艺作为服装结构设计的延伸和发展，它是影响成品

质量优劣的直接因素，也是服装工程的构成基础。崇武服装缝制工

艺经历了从接袖衫、缀做衫时期的手缝工艺到现代节约衫机缝工艺

的发展过程，涵盖了当地民间传统缝制技艺的主要方面和本质内容。

本文以缀做衫为例对崇武服装的缝制工艺和主要的针法技法进行了

研究，结合服装结构特征和缝制工艺特色，分析得出崇武缀做衫拙

朴节俭、崇尚和谐的造物观念，体现出劳动人民以服饰为载体的精

神寄望以及附丽其上的对“礼教”的尊崇。崇武服装的缝制工艺是劳

动人民拙朴智慧的结晶，通过对其深入学习和研究，可以使我们更

好地了解蕴涵其中的民俗文化、风土人情和审美艺术。

致谢

本论文是在导师崔荣荣教授的精心指导和亲切关怀下完成的。

从论文的选题、资料的收集、实验的操作执行直至论文最后完稿，

都离不开她的悉心指导、耐心的帮助和严格把关，为此她倾注了大

量的心血和汗水。同时导师踏实严谨、精益求精的科研作风和对科

学的献身精神、使我不仅在学业上，而且在做人方面受益终生，我

在此向导师表示最崇高的敬意和最衷心的感谢！

在论文完成和试验过程中，我还得到同组成员的大力协助，在

此一并致以深深的谢意，当然，我还要感谢我亲爱的家人，感谢帮

助过我的所有朋友们，感谢你们无私的帮助和支持。

最后，感谢纺织服装学院的领导和老师们在论文选题和方向指

导上所做的辛劳工作，以及一年多来在学习和生活上给予我的关心

和帮助。

参考文献

［1］ 陈万里，王春来.惠安县志[M].1 版.北京：方志出版社,1998：

1019.

CHEN Wanli,WANG Chunlai.The county annals of

HUIAN[M]. The first edition.Beijing：the publishing

house of county annals, 1998：80.

［2］ 哈克.惠安女服饰与刺绣[M].1 版.北京：中国民族摄影艺术

出版社,2009：2.

HA Ke,The costume and manual embroidery of

HUIAN women[M]. The first edition.Beijing ： the

publishing house of China's national photography

art, 2009：2.

［3］ 张竞琼,钟铉.江南水乡妇女服饰的镶拼功能与渊源 [J].纺织

学报,2007,28（8）：88-90.

ZHANG Jingqiong,ZHONG Xuan.Source and

function of combination on females‟clothes in the

area south Yangtze River[J].Journal of Textile

Research,2007,28（8）：88-90.

［4］ 刘瑞璞,邵新艳,马玲,等.古典华服结构研究[M].北京光明日

报出版社,2009：49-56.

LIU Ruipu,SHAO Xinyan,MA Ling, etc.The structure

research of Chinese classical apparel[M].Beijing：

Guangming daily publishing House, 2009:49-56.

［5］ 张辛可.服装缝制工艺大全[M].1 版.江西：江西美术出版

社,2003：21-22.

ZHANG Xinke.Sewing Technology of the Dress[M].

The first edition.Jiangxi: the publishing house of

Jiangxi fine arts,2003：21-22.

［6］ 刘伏宝.凤舞惠安[M].1 版.福州：海潮摄影艺术出版社,2003：

3-4.

LIU Fubao. Phoenix dancing in HUIAN[M].The first

edition.Fuzhou：tidal photography art publishing

house，2003：3-4.

作者简介

罗静（1987—），女，重庆奉节人，硕士研究生。研究方向为服装

设计理论与服装社会文化史。E-mail：lj218061@163.com。联

系电话：18762651323。

8ISS Symposium-Poster: Traditional

296

Inspirations Form Hand-Woven Cloth in the Republic of China（1912-1949） to Modern

Hand-Woven Cloth Designing

Ru ZHANGa, Jing-Jing LIANGb

aInstitute of Jiangsu Intangible Cultural Heritage, Nanjing Museum, Nanjing, Jiangsu, Email: zhangru05@126.com bEnglish Department, Beijing Institute of Fashion Technology, Beijing, Email: cerry3823@yahoo.com.cn

Abstract

„Hand-woven cloth‟ has a long history and was the

traditional Chinese costume material once widely used

by the ordinary people. Although it was stroked by the

machine-made piece goods between 1930s and 1940s,

the Hand-woven cloth were still popular fabric which

dressed by fashion leaders in the Republic of China. By

comparative analysis approach, this paper summarized

general characters of popular conditions of Hand-woven

cloth both in the republican period and in nowadays to

find conditions which offered to redevelop Hand-woven

cloth in nowadays. It provided references and experience

for the newly developing modern clothes designing and

exploiting with hand-woven cloth in today‟s fashion

world. And it also searched some inspiration points for

how to create current “cultural and creative production”.

This paper includes three parts: the first part discussed

the popularity of Hand-woven cloth in the republic of

china. It analyzed the definition, basic characters,

application form and historical origin of Hand-woven

cloth. The second part discussed the popular condition. It

analyzed the conditions for its redeveloping today from

the hand-woven cloth itself, technology, society and

other aspects. The third parts made a conclusion that the

Hand-woven cloth had the condition to redevelop it and

became fashionable.

1. Introduction

„Hand-woven cloth‟ had a long history and was the

traditional Chinese costume material once widely used

by the ordinary people. Although they were stroked by

the machine made piece goods, the Hand-woven cloth

still played an important role on the stage of China textile

industry in a long term, and even became the most

favorable in the fashion world in the Republic of China.

However, due to historical reasons, the impression of

Hand-woven cloth was gradually blurred. With the global

environmental degradation, low carbon and

environmentally friendly natural cotton textiles return to

the fashion world again. On the other hand, China is

based on valuing “Cultural and Creative Industries” and

achieving the apparel industry to “China design”

transformation. In some places, people have already

tried to develop the once disappeared Hand-woven cloth

to make clothing, and even launched Hand-woven cloth

dress brand. However, they are still rather confused of

what the Hand-woven cloth are, how to improve the

Hand-woven cloth and how to design modern clothing

with them. As it was, these questions had been explored

in the period of People‟s Republic of China, and people

accumulated valuable experience. In this case, the thesis

compares and analyses the conditions that the

Hand-woven cloth‟ popularity in the People‟s Republic of

China with today‟s conditions, and provides advice to the

Hand-woven cloth design in the modern fashion field.

Hope this will inspire people to design Chinese fashion

clothes properly of the day.

2. Popular hand-woven cloth in the ROC

2.1. The definition of Hand-woven cloth in the

ROC

Hand-woven cloth in the ROC is the cotton clothes that is

divided according to the republic of china standard, and

produced at local relative to the machine-made clothes

in the western. Different from the traditional

Hand-woven cloth, Hand-woven cloth contain all the

industrialization Hand-woven cloth, such as half a

manual, whole by hand and power weaving clothes. Folk

often called them “homespun”, “old smocks”, and people

once called the “countries cloth”. As for the material,

Hand-woven cloth was generally the cotton, and the

tabby organization was the chief fabric structure. As for

the weaving technology, they remained the traditional

yarn dyed, prick, batik, plasma dye and so on, and some

were done with machine printing design. The dye is

usually the western introduced chemical dyestuff, such

as the Germany indanthrene dye (figure 1). Color blue,

purple is usually

Figure 1 Germany indanthrene colored cloth

advertisement in the1930s (collected by Jian-zhong

Gao)

the majority. Color of quietly elegant white, blue items is

the chief color. Hand-woven cloth has various kinds and

different specifications. First of all, of the influential, the

folk often call them "old smocks". Raw material is usually

completely weft yarn or the soil weft yarn, and even the

muslin. The fabric width is narrow, and the size keeps

traditional. For instance, the most common small fabric‟s

yarn count changes from the beginning of 4-10 to 14-16

teams, the specifications is 21 feet long, broadly 1 foot.

As for the big fabric, the yarn count is 16 × 12, and the

specification is 43 to 44 feet long, broadly 8.3 feet. This

kind of Hand-woven cloth is rather popular with the

average people, and the clothes are usually used to

make denims and military uniforms. In the early 20

century, the clothes are widely used. Second, usually the

spinning raw materials is delicate machine yarn, and

double thread yarn acts as the warp and the single yarn

acts as the weft. The quality of the material is exquisite,

and the fabric width is broad. In the 1910s, the popular

yarn count ranges from 20 to 30, but the favorite yarn

count became the 32 to 42, even 60 in the 1920s and

1930s. Take some other examples, the common Yong

cloth‟s yarn count is from 32/2×16 to 42/2×16, broadly

2 feet and is 30 yards long. As for the cloth, the yarn

count is 42/2×20, broadly 2 feet and is 5 cubits, and the

dimensions vary according to the different producing

areas and markets. These kinds of Hand-woven cloth are

in vogue in the 1930s, and appeared as the Chinese and

foreign noble and fashionable pioneer people‟s favorite.

They were the usual fabrics of the fashion dress

8ISS Symposium-Poster: Traditional

297

(including the cheongsam and Chinese tunic suit, etc.),

civil servant uniforms and the school uniforms.

2.2. The history of Hand-woven cloth in the

ROC

In fact, the Hand-woven cloth has already been spread

abroad before the First Opium War (namely before the

complete of the British industrial revolution), and

popular the European noble. According to the China

Exposition recorded in 1883, “the Hand-woven cloth

made in Nanjing China keep the advantage over the

British clothes in the aspects of color and texture.” Some

scholar thought that the British clothes improvement

after the British industrial revolution is the result of

reference. They learned from the Chinese “nankeen”

("Nanjing cloth" in the original book, the English writing

is "nankeen", Chinese also translate it as "purple flower

cloth". In the Qing dynasty, "purple flower cloth" of their

Jiangnanregion took Nanjing as the export trade center,

which is also known as "Nanjing cloth") and India's plain

white clothes, the representative of the cotton products.

After the Opium war, Chinese Hand-woven cloth was

once stoked by the British cloth, the representative of

machine made cloth. And these scenes appeared:

merchants in the town and the first class wore the

machine made clothes, and the poor citizen and the

downtown peasants wore the Hand-woven cloth. [1] And

there are also data showing that the sales volumes of the

machine made clothes is no more than 1/7 of the

hand-woven cloth‟. There are even proof that real noble

and the fashion pioneers of the days wore the

hand-woven cloth but not the machine made clothes.

The writer Ailing Zhang, actor Die Hu and Yu-Mei Chen

are the representatives of the fashion pioneer. Ailing

Zhang described in her book that she brought the

Guangdong hand-woven cloth to Shanghai to make

clothes, and thought she was conserving the folk art.

She wrote that“…as if walk around wearing the

museum‟s famous painting and ignore others feeling,

which is a real moment for me to enjoy…” in her works.

The well-known Republic of China folk scholar Ju-Ren

Cao has also described this: Ai-Ling Zhang asked:” What

clothes suit me the best?” “The hand-woven cloth

cheongsam is the best.” Her little brother said. From this

we can conclude that Ai-Ling Zhang likes the

hand-woven cloth.

In modern Beijing, Shanghai and some developed

Yangtze River delta regions, people have already try to

develop the once disappeared hand-woven cloth to make

clothing, and even launched hand-woven cloth dress

brand. In some big cities there are advertisements for

hand-woven cloth cheongsams, and the hand-woven

cloth cheongsam appeared on the street again in the 21

century. As far as we know, in the movie Lan-Fang Mei,

when Lan-Fang Mei break up with Xiao-Dong Meng, Zee

is wearing the Yunnan hand-woven cloth cheongsam,

which reproduced the charm of the hand-woven cloth

cheongsam. Conditions are needed for the popularity of

hand-woven cloth. Consulting from the related Republic

of China historical document, we can conclude some

experience as follows.

3. Popular conditions of hand-woven cloth in

the ROC

A kind of clothing textile which can be popular is

connected with its own conditions, and the most

important is that the aesthetic style and the taking

appearance performance.

3.1. The conditions of hand-woven cloth materials

Textile raw materials and the structure of the

organization decide the fabric appearance and the

performance. The biggest characteristic appearance of

the Hand-woven cloth aesthetic style is: plain and

stereoscopic. The plain of the hand-woven cloth is

exactly because the cotton fiber itself is plain and the

plain weave organization structure is mostly pure. The

simplest raw material combines with the plainest

organization structure, and that creates the most solemn

and composed cloth compared with other clothes.

Jianzhong Gao, who is the Republic of China costume

collector, collects a hand-woven cheongsam of the 1940s

(figure 2).

Figure 2 hand-woven cloth cheongsam in the 1940s

(collected by Jian-Zhong Gao)

Its surface fabric is top-grade meticulous hand-woven

cloth, and the lining is the best camblet and the waist

mouth is the foreign import zip. The lining materials and

auxiliary materials are luxurious and elegant, and the

workmanship is delicate. So it is easy to see that the

cheongsam must come from a rich family.The silk fiber

texture is exquisite and gorgeous; in contrast, the fabric

is of moisture and acerbity. In this case, the hand-woven

cloth looks agile and is of acerbity. For those fashion

pioneers that always view the delicate silk, the

hand-woven cloth can strike their heart string, and meet

their need of special appreciation of the beauty.

Compared with today's perspective, "environmental

protection" has become one of the most important

clothing styles. Using the natural fibers and advocating

the use of hand-making are the main embodiment of

means. And with the influence of the post-modernism,

the leisure classes are decreased and the consumption

idea change, and clothing is no longer the tools to flaunt

their wealth, so "contracted creed" and "beggar

costumes" style of dress becomes popular. Today there is

an article to describe the homespun local affection: "to

recall the smell of the country, I will blurt out this: It is

the wheat in the cotton, and the smell of yarn... and

think that the length that mother weaves the

hand-woven cloth is the degree I love the land."

Hand-woven cloth is with some local color and this

unaffected sense is just the best selling point as a

clothing style. In addition, hand-woven cloth'

appearance is also very stiff and smooth. They neither

like linen to get wrinkling easily, nor like silk that can‟t be

repeated washing conveniently. According to Mr. Gao,

among the collection of his more than 100 pieces of the

republic cheongsam, the hand-woven cheongsam is the

stiff and smoothest. In the middle nineteenth century,

English gentleman believe that "everyone in" nankeen

"is proud ,and it seems that people without the tailored

Chinese cotton clothing is not suitable to be called a

gentleman, and it is difficult for people to accept."[2]

One of the inner reasons is the stiff and smooth

characteristic.

The supreme characteristic of the hand-woven cloth is

wear-resisting. The local chronicles recorded this: people

all like the hand-woven cloth, because they are horny

and wear-resisting. In the view of practical use, the

machine-made piece goods are deathly less

8ISS Symposium-Poster: Traditional

298

wear-resisting. In 1872, a westerner in China recorded:

"I heard that Chinese in many provinces were all with

one voice: the machine made clothes might cost us less

money when buy them, but in the long run, the

hand-woven cloth is much more wear-resisting and

cheaper. The hand-woven cloth is made by hands, and it

is much economic to wear them."[3] In the early 1950s,

a British man, who has been in three provinces of China,

said: "I have not seen one peasant that wears a piece of

clothes that made of British fabrics yet." [4] In the

modern market, it is difficult to tell the truth, so people

pay rather high attention to the quality. And the

wear-resisting characteristic is another condition for

hand-woven cloth to be popular nowadays.

3.2. Technical conditions

The popularity of an object is close related to

generalization and popularize. To make the hand-woven

cloth universal, people need to solve the problem of

quantity production. There lie two solutions: the first

way is the traditional manual production. This way must

be based on sufficient labor forces, and this is the main

method that we are conducting today. China has an

extensive source of labor force, and the manual

hand-woven cloth production chiefly relies on the

peasants that take up 80% of the national population. In

the period of the Republic of China, only the remained

labor forces took up hand-woven production and making

maximum profits was not people's sake. People were

free from any limit of the minimum salary, so that was

when the labor resource was made the most use of and

the production of hand-woven cloth was ensured. Today,

the percentage of the peasant still take up a great

proportion, of the population, if we can make full use of

the reminder labor to develop the manual hand-woven

cloth making "labor intensive industry", thus not only

can we creates much more work opportunities and

makes a contribution to absorbing social remaining

labors, but also contribute to building favorable

relationship and maintain the society harmonious and

stable while communicating the production techniques.

What is worth mentioning, the international fashion

trade of the day focuses on manual production. If we can

produce good quality hand-woven cloth in this way, then

develop them into delicate gifts, and the products will be

able to advance the international market.

The other way is the mechanization or half

mechanization production. This way needs to improve

the manual production way of making the hand-woven

cloth, and this is the key point that many developers are

faced. Some enterprises try to turn to mechanization,

but these attempts more or less stay on the primitive

stage. In this case, the experience of the Republic of

China's reform may provide timely help. In the Republic

of China, the stroke of the machine made piece goods

objectively provide the excellent choice for hand-woven

cloth altering. On the foundation of absorbing foreign

production techniques and commercial trade means,

Chinese created the "refined hand-woven cloth" or to

call" new hand-woven cloth" and "Ai Guo clothes", that is

the cloth made by hand machine and iron turbine. In

about 1905, the iron wheel loom was brought to China

from Japan. The machine involves the gear, leverage and

some other mechanical theories. People use double feet

to move it to drive the flywheel, which connects opening

the picker, shooting in, beating up, batching, and pacing

of wrap these five operations as a whole. And with foot

pedal to start, when put in the cloth, move and roll the

ensemble we don't stop weaving, which greatly improves

the production efficiency. At about the same time, we

imported the Yakeshi jacquard weaving hand in hand

machine. The machine can use flower version to

automatically carry ensemble according to prepublic of

Chinaedures, and wove it into various pre-designed

decorative pattern design. It can probably be called

human launched in loom of the most perfect structure.

The cloth woven by iron turbine was of the width to 22

inches, and was the same as the mechanism cloth. In the

year of 1906, the Tianjin Japanese industry introduced

the foot iron turbine, just within four to five years, the

old wooden machine gradually were replaced.In the

1920s, the scale of producing hand-woven cloth is in the

day. Only in Shanghai, Nanjing, Guangzhou, Tianjin and

Chengdu, the clothes making industries are up to more

than 5000. Moreover, the reformed clothes can adjust to

the trend of market consume and people's changing

consume concepts, they produce the right good for sale

productions and cater to the market demand. As the data

of the survey showed in the 1930s, in Gaoyang, the

hand-woven cloth are produced of 97 different styles;

the goods and the quality simulation are on the new

textile moils and are all better.

Figure 3 the iron machine for woven was imitated the

Britain‟s (lift), and the woven machine which was used

widely in the 1930s was imitated the Japan‟s (right).

3.3. Social conditions

The reasons why the hand-woven cloth can be so strong

and even become the fashion under the stroke of the

machine made piece goods are not only their own

conditions and technique conditions but also certain

social conditions.

The hand-woven cloth were once the first class's favorite,

and the writer thought that the most possible reason is

that the effect of the patriotic "Chinese goods

movement" and the Chinese goods' high reputation in

people's heart. According to the statistics data of that

day, in the Republic of China, Chinese goods take up

7/10 in the market. Many markets give the

advertisement of "total Chinese goods" ，and lots of

newspapers ,for example the Shanghai declared

specially to increase “goods issue”, reported special

magazines and newspapers. What's more, in 1931, a law

defines that "no foreign goods are allowed and put the

inferior stuff the leaks ". In the eighteenth year of the

Republic of China, the government announced that all

the civil servants of China must wear national silk clothes

or national hand-woven cloth. And the historic

documents suggest that "Zhongshan suit ",

representatives of man's clothes, might be made of

foreign machine made clothes, so in the republic of China

eighteen years the “clothes ordinance” was removed, let

alone the rule of the Zhongshan suit being the

ceremonial dress which recorded in some documents of

those days. We can learn that the concept of national

goods was not so important. At the same time, the

government held the "hand-woven cloth exhibition" and

"hand-woven cloth movement meeting ". Especially for

Shanghai, the most fashionable city, it is the main land of

holding the sport. And in the 24th year of Republic of

China, the Republic of China government gave the official

document that presents "advocate the use of

hand-woven cloth and held the hand-woven cloth

exhibition" [5] An article describes this way:" in June

1932, to boycott the Japanese machine made clothes

and raise people's awareness of patriotism, Yi Zhang

organized Shanghai people to go to Nanshi Penglai

nation goods market, and held the extraordinary

hand-woven cloth movement meeting. On the ceremony,

famous movie actor Die Hu and Yumei Chen showed up

8ISS Symposium-Poster: Traditional

299

wearing the hand-woven cloth cheongsams, and the

spectators were all shocked. The hand-woven cloth on

display has original patterns, natural colors, unyielding

qualities and cheap price, so that they were sold out in a

minute. The newspaper reported this vigorous

situation."[6] After the founding of the New China, in the

1950s, an old photo can still prove the charm of the

hand-woven cloth. (Figure 4)

Figure 4 photo that is handed down from ancient times：

the scene of producing nankeen hand-woven cloth in

1952(collected by Jian-zhong Gao)

Today, we had the most similar condition to the domestic

and international environment. Firstly, the competing

international trade condition is similar, and they all

demand us to absorb western techniques and

management and devote ourselves to the “spread of

Western influences to the East”, so that we will be able to

improve our production stand on the international stage.

Secondly, the Chinese goods movement in the Republic

of China is similar with Chinese traditional culture

creativity “Cultural and Creative Industries” economic

strategy. This financial crisis can just determine to force

China to complete the transformation of the economic

structure, and speed up the pace of industry

transformation, this can be another round of new

"Chinese goods campaign". So hand-woven cloth, as the

cultural products, to develop them we need to fully grasp

the new rare opportunity.

4. Conclusion

The hand-woven cloth in the republic of China arrive at

modern times after overcoming that rough road, and

bring rich and valuable experience for us to design

modern clothes with hand-woven cloth. And the

development totally proves the hand-woven cloth have

their own conditions, technique conditions and social

conditions to be developed again, and to be the fashion

trend of the world. Can we get the confidence of “being

strictly prohibited to foreign goods pretend to be formed”?

Can we design the unique Chinese hand-woven cloth on

the basis of former experience? And can we let the China

delicate craft appear proudly out of the country and be

marked with “made in China” or “designed by China”?

We will wait and see.

References

[1] Yao-xian Gao (1962). The History of modern

Chinese foreign trade information (1840-1895)

Volume III (1st ed.). Beijing, China: Zhonghua

Book Company, 1354.

[2] Xiang Wang (1998). The Battle Between

Hand-woven cloth and Foreign Cloth In the Late

Qing Dynasty and the Roc. Roc spring and autumn

period, (02), 27-31.

[3] Yao-xian Gao (1962). The History of modern

Chinese foreign trade information (1840-1895)

Volume III (1st ed.). Beijing, China: Zhonghua

Book Company, 1342.

[4] Jing-Yu Wang (1983). The Western Capitalist

Invasion of China's Economy in The Nineteenth

century (1st ed.). Beijing, China: people's Press,

85.

[5] The POC archives from The Second Historical

Archives of China.

[6] Nai-Qing Zhang (2007). Yi Zhang: Xingzhi Tao's

student. Life and Education ,(04), 22－23.

[7] Jiang-Zhong Gao (2008, September 8). Nanjing

Beauty in the POC Love cheongsam Best. Nanjing

Morning Post.

[8] Chang-Li Li (2005). The Popularity of Foreign Cloth

in Late Qing Dynasty and its Sociocultural

Significance. Hebei Acaderruc Joumal, 25(02),

161-168.

[9] Ju-Ren Cao (2007). Shanghai Spring and Autumn

period (1st ed.). Beijing, China: Trigeminy press.

Authors

Ru Zhang is the researcher of Nanjing museum national

folk institute, and works on the textiles and clothing. The

research direction is in Chinese modern history of

costume.

Jing-Jing Liang is the teacher of the Beijing Institute of

Fashion Technology, and works on the fashion culture

research. The research direction is Chinese and foreign

fashion culture.

8ISS Symposium-Poster: Traditional

300

Unique Silk Dyeing Process of Gambiered Guangdong Silk

Guang-hui RENa, Xue-lin LIAOb

aZibo, Shandong, China, Shandong Silk Textile Vocational College, 255300, Email: rengh@126.com

bFoshan, Guangdong, China, Foshan Cultural Centers, 528000, Email: 734955490@qq.com

Abstract

The unique dyeing technique of Guangdong silk was born

from an eco-system called mulberry plot-fishpond, which

is an ecological agriculture model developed in the Ming

and Qing dynasties. Nowadays it has become the

excellent cultural heritage of China. As the production

model of Mulberry plot-fishpond gradually disappeared

in Foshan area of China, the production and sale of

Guangdong silk went in trouble and there are lack of

successors to carry on working using this dyeing

technique. Today the protection of intangible cultural

heritage becomes a common concern all over the world.

Therefore, it is necessary to explore the technique and

art value.

1. Introduction

Gambiered Guangdong silk, developed from Mulberry

plot-fishpond of Pearl River Delta in Guangzhou Province,

is a unique kind of material among Chinese silk. With

mulberry silk as the raw material, it is gauge weave

textile and taffeta textile. When flicking near the ear, or

walking in clothes made in them, you can hear rustling

sound, so it is named Gambiered Guangdong silk which

also named sound silk in Chinese, and sound is

homophonous with fragrant, so it is called fragrant silk,

which is the literal meaning of Gambiered Guangdong

silk in Chinese. In Pearl River Delta region, people make

full use of the favorable natural environment to create a

kind of deep-cut fishpond, an efficient artificial

ecosystem in which people plant mulberry tree in the

high field around the pond and raise fish inside it. The

development of Mulberry plot-fishpond not only prompt

planting mulberry, raising silkworm and the industry of

fish-raising, but also provide impetus to the growth of

processed industry, such as filature. As a result, a

complete and scientific artificial ecosystem gradually

comes into being.

This paper discussed the evolution of Gambiered

Guangdong silk in the ecological system to indicate that

the dyeing of Gambiered Guangdong silk is a peculiar

technique in Pearl River Delta of Guangdong Province. At

present, the mulberry plot-fishpond production system

in Foshan area is disappearing, and the production and

sales is becoming difficulty. With the reduction of

material, it is hard to survive in the market competition.

The heavy work intension has also kept the young people

away from learning this technique, so the lack of

successors becomes another dilemma. Fortunately, the

dyeing and finishing technique of Gambiered Guangdong

silk has nominated as a kind of national intellectual

cultural heritage in China, which shows the significance

for the protection and development of this distinct

technique.

2. Mulberry plot-fishpond and the origin of

Gambiered Guangdong silk

2.1. Mulberry plot-fishpond

Pearl River Delta is located in the south of the Tropic

Cancer and belongs to the subtropical climate where it is

warm and humid all the year and hence very proper for

mulberry-planting, silkworm-raising and fish-raising,

especially the silkworm raising. As a major place of

production of Chinese cocoon, the history of

mulberry-planting, silkworm-raising, filature and silk

production has more than 2000 years in Pearl River Delta.

It is a traditional and ancient industry (Lai, 2003). In Chu

Pearl River Delta region, there are a lot of rivers, people

lived there make full use of the favorable natural

environment to create a kind of deep-cut fishpond, an

efficient artificial ecosystem in which people plant

mulberry tree in the high field around the pond and raise

fish inside it. Mulberry plot-fishpond is an agro-ecological

chain which has formed a virtuous circulation with

mutual dependencies and promotion among mulberry,

silkworm, fish and mud, recorded in New Comments on

Guangdong (Qu, 1985).

There once had two upsurge of abandoning the field to

build ponds, and planting mulberry trees instead of

paddy between 1730 of and late 1900. Jiujiang town in

Nanhai became the territory of pure Mulberry without

any paddy fields. In the 19th century during the reign of

Jiaqing, Nanhai Longshan became pond only besides

house, and Foshan Shunde is more prominent, before

the reign of Xianfeng, there were paddy fields along the

Western sea, but they all changed into Mulberry

plot-fishpond later. In the late 19th century during the

reign of Guangxu, there are more than 100,000 acres of

pond in excavation in Foshan Shunde, the area of

Mulberry plot-fishpond reached more than 300,000

acres, area of paddy field is less than one-tenth of the

total cultivated land area (Deng, 2003). The

development of Mulberry plot-fishpond not only prompt

planting mulberry, raising silkworm and the industry of

fish-raising, but also provide impetus to the growth of

processed industry, such as filature. silk yarn is a famous

specialty of Guangdong since ancient times, there are

statements like quality of Guangdong yarn is the best in

the world, Foshan was a place of mass production of

Guangdong Yarn.

Foshan is one of China's four famous towns in Ming

dynasty; the textile industry is the main economic

mainstay of the town. Mulberry production in Foshan has

a long history; silk-producing capacity was ranked first in

the history. Nanhai, Shunde, Sanshui became the

famous raw silk production base with 70% of Mulberry

area and 90% of production of Chinese cocoon of the

whole Guandong province (Local chronicles editorial

board, 2004). By virtue of its advantageous climate and

the benign running mode of Mulberry plot-fishpond with

a long history, Pearl River Delta has become a model

example of ecological agriculture. Gambiered

Guangdong silk is evolved in the ecological system.

Following it, a complete series of Gambiered Guangdong

silk dyeing technique becomes peculiar to Pearl River

Delta region of Guangdong Province.

2.2. Origin of Gambiered Guangdong silk

Gambiered Guangdong silk is a unique product of Pearl

River Delta ecological environment, absorbed the

essence of heaven and Earth, the wisdom of the people,

it has become indispensable elements in Chinese

traditional culture and spiritual carrier, deeply loved by

people. The attempts to produce elsewhere have been

proved in vain. The so-called "Orange grown in different

places taste differently" Gambiered Guangdong silk is

the natural art treasure in Foshan area gifted by nature.

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301

Gambiered Guangdong silk is a kind of silk material with

a black face and a brown back made by using the tuber of

a natural wild Dioscorea cirrhosa as its dye, dyeing and

insolating the greige many times and covering it with the

special mud in the Mulberry plot-fishpond. As a very

popular form of folk handicraft dyeing technique,

Gambiered Guangdong silk has formed its unique style of

material choosing and process technology over a long

period of development. It is a pure natural green fabric

with the natural dyeing material- Dioscorea cirrhosa

juice and mud in the Mulberry plot-fishpond, and the

whole process without emploing any chemical agent or

producing any hazardous waste.

Gambiered Guangdong silk feels strong and smooth

besides the soft, slight and comfortable feeling of

ordinary silk, clothes made of which are comfortable and

pleasant to wear especially in the hot and humid summer

of South China, there is a saying about this called

“sweaty but non-sticky, the longer you wear, the cooler

you feel”; the longer you store or wear, the more

comfortable and softer the clothes will be, and they are

extremely easy to clean, there won‟t be any ridge no

matter how hard you rub the clothes. At the same time,

Dioscorea cirrhosa itself is a traditional Chinese medicine

with the mildew, bacteria, odor removal effectiveness, so

the same medical effect of clothes made of Gambiered

Guangdong silk is generally accepted by people in this

industry.

The Gambiered Guangdong silk produced through the

complex production procession is black in the face and

ochre in the back (Zhao, 1997). the black is not pure, but

rather the color of ink in Chinese Ink painting teems with

levels and changes, discloses speckled brown in black,

every spot is lovable, showing the vitality of the nature.

Elegant, tasteful and low-key Gambiered Guangdong silk

shone with metal-like luster, the texture which reveals

the unique charm will be increasingly finer as time went

by.

Due to the minerals in pond silt attached in the course of

processing, the fabric is characterized with cool,

sweat-resistant, easy to wash and quick drying besides

the beauty of its shade, cooler than ordinary Mulberry

silk fabric, it is the world's coolest natural fabrics.

Putting on Gambiered Guangdong silk clothes in hot and

humid climate makes one feel cool and comfortable, it is

exactly why they are so popular. With a more expensive

price than cotton cloth and ordinary silk, they were

formerly preferred material for the rich in summer.

Since the launch of Gambiered Guangdong silk, it has

become widely popular, other than Guangdong Province,

they are sold all over the South China and central China,

and exported to overseas South Pacific Islands, and

became precious fabrics everyone wants to have eagerly.

There are record in Shunde County local records (順德縣

續 志 ) saying "shipped to provinces outside, had big

sales", they were once exported to Europe, America,

India, Southeast Asia and other places, called "black

shining pearl ( 黑 色 閃 光 珍 珠 )". Complex production

process and the requirement of weather condition

limited the production of Gambiered Guangdong silk, so

it has been a noble fabric with the scaring high price.

3. production process of Gambiered

Guangdong silk

People make full use of local plants, soil, water, sun and

other natural elements during the entire production

process to make elegant Gambiered Guangdong silk

with rich luster from white greige by completely hand

working. The production process is trivial and time

consuming, and the sunny weather is a necessary

requirement. Thirty times of bleaching and dyeing and

one week‟s insolatino makes white greige into real

Gambiered Guangdong silk.

3.1. Main production facilities

The main production facilities consist of Dioscorea

cirrhosa pulverizers, solution pools, big and small

wooden buckets, wooden basins, copper pots, among

which the silk, Dioscorea cirrhosa, mud, air-dyeing yard

and sunshine are necessary.

3.1.1. Silk

Canton gauze gambiered is the leno weaved by jacquard

loom, gambiered Guangdong silk is plain goods weaved

by plain loom namely white greige.

3.1.2. Dioscorea cirrhosa

Dioscorea cirrhosa is a genus of perennial liana widely

distributed in Sichuan, Yunna, Guizhou, Hubei, Guangxi,

Guangdong, Fujian, Jiangxi and Zhejiang provinces. Resembling taro, its tuber with black surface has the

prickles and inside it is red brown, there would be red

mucus when cut. The main component of the tuber is

tannin, which is the main material of the procedure.

Based on historical documents, the early understanding

of its characteristics comes form that of the similar

variety Yuyuliang (禹餘糧 ) in Southern and Northern

Dynasties period. Su Gongyun in Tang dynasty once

comments "Zhekui, can not be used as medicine (名曰赭

魁，不堪藥用)”. The history of using Dioscorea cirrhosa as

dye is very lone, there were records of dye with plant

juice as early as in Northern Song dynasty, while the

characteristics of this dye is happen to be the same with

that of Dioscorea cirrhosa( Fig.1) .

In Meng Xi Bi Tan (夢溪筆談), written by Shen Kuo (沈括),

"there are lots of Zhekui in the south with black face and

red content in similar shape with Heshouwu. The red

juice when cut is used to dye leather to make boots (今

赭魁南中極多，膚黑肌赤，似何首烏。切破，其中赤白理如檳榔。

有汁赤如赭，南人以染皮制靴).” The description of Zhekui is

extremely similar with Dioscorea cirrhosa used to make

Gambiered Guangdong silk. In Compendium of Materia

Medica (本草綱目), Li Shizhen (李時珍) emphasized its

function as dye. Fang yizhi (方以智) in the early of Qing

dynasty also mentioned this kind of plant as dye. There

once unearthed a piece of linen fabric in East Jin Dynasty,

the second year of Taining in Guangzhou, 1931, the color

of this fabric is dark brown in one side and red in the

other, the appearance and characteristics can tell that

the processing and finishing must have employed the

usage of Dioscorea cirrhosa. Historical materials and

archaeological finds indicate there has been a long

history to dye and finish fabric with Dioscorea cirrhosa.

3.1.3. River mud

Daubing mud is a very important procedure. The mud

should have plenty of ferric ion, unpolluted, those with

grey and black color are preferable. It is said this kind of

technique comes by accident. The story said, there were

once a factory, blackmailed by gangsters, hid all the silk

have been insolated in the mud to reduce lost. When the

gangsters left, the workers pulled the silk out of the mud

and found parts of the silk had become dark black and

couldn‟t be washed clean without any given reason. After

hot discussion they doubted the mud, so they buried the

silk in the mud again and fetched out after a period of

time, all of them became dark black. Then through

continuous research and improvement, a mud (or pond

8ISS Symposium-Poster: Traditional

302

silt) dyeing methods was finally found to make the silk

bright and black. It is the chemical reactions of tannins

and iron in Dioscorea cirrhosa that makes silk being

insolated to black. Therefore, the color of Gambiered

Guangdong silk does not only reflect the Sun's light, but

also exude implicit and introverted metallic luster, looks

natural and pleasing.

Special emphasis should be paid that the mud used in

this procedure is not ordinary mud, but those been

carefully selected and best for the color effect of silk.

While the river water for producing Gambiered

Guangdong silk should be in the proper location.

Therefore, each factory is a valuable land with a good

geomantic omen.

3.1.4. Air-drying yard

Air-drying yard is of great importance for the

post-processing of Gambiered Guangdong silk. One yard

should have the capacity for 160 rolls of fabric

(18.5m/roll) tiled silk. The requirements on the

air-drying yard are as follows: its surface is very plain

and the lower bottom is earth, which is covered with a

layer of very fine sand. Across the yard, 1-2 cm thick

grass is grown and meanwhile it must assure that the

grass itself is not too soft in case that it can not bear the

pressure imposed by the silk so that the silk will contact

directly with the fine sand.

3.1.5. Sunshine

Figure 1.

Apart from the Daubing mud, sunshine is necessary for

the rest of all the procedure of making Gambiered

Guangdong silk. Only the strong rays of the sun can

better form the black color of Gambiered Guangdong silk. ( Fig.2) Thus, the techniques of insolation of Dioscorea

cirrhosa have strict demanding for the time, only

April-October in the year is appropriate for working,

during this time, workers are busy from 4 a.m. in the

morning to 4 p.m. in the afternoon everyday. But it is

inappropriate to work from July to early August (slight

heat 小暑, great heat 大暑and autumn begin 立秋 in

Chinese Lunar calendar), for the extremely high

temperature and strong sunlight will make the silk hard

and brittle; neither after December because of the dry

monsoon from North to South. Therefore, making

Gambiered Guangdong silk is labor intensive and sun

exposed, its unique production requirements have made

many young people step back.

Figure 2.

The mechanism of insolation of Dioscorea cirrhosa is the

inter combination and reaction of silk textiles, Dioscorea

cirrhosa and river mud. silk peptid in the textile

hydrogen bonded with tannin phenolic group in

Dioscorea cirrhosa to coat the silk first, then the high iron

ion in river silt reacts with tannin in Dioscorea cirrhosa

nerate to form a black precipitate of condensation in the

satin surface, the Sun plays a very important catalytic

role in the whole process. Therefore, the Dioscorea

cirrhosa, river mud, lawn and sunshine are indispensable

for the insolation of Dioscorea cirrhosa.

3.2. Production process

The production of Gambiered Guangdong silk include two

separate procedures, they are the manufacture of white

yarn and white greige and the insolation of Dioscorea

cirrhosa. However, the factory now has basically lost the

function of raw materials‟ production and only engaged

in the processing with supplied material, that is the

second one mentioned above. Insolation of Dioscorea

cirrhosa is a traditional craft using the plant dye－juice of

Dioscorea cirrhosa in which there contain the gel and

tannin and the mud rich in the ingredient of ferric oxide

to dye the silk textile . The many times of dyeing process

and the subsequent post-treatment are purely by hand

and its whole procedures are very complicated. It is

reported that these following procedures as necessary:

preparing the greige － making Dioscorea cirrhosa

solution － soaking － insolation － daubing the mud －

washing the mud－air-drying－absorbing the moisture in

the grass absorbed from the fog and dew－flattening the

silk－rolling the silk－putting the silk in storage. In the

aforementioned procedures, soaking, insolation,

air-drying, boiling and washing processes are very

complex. Moreover, the dyeing process is

time-consuming and usually takes 15 days. Now I will

illustrate the whole procedure in six steps.

3.2.1. Refine

Greige must be refined, Cooked and soaked with alkaline

water to remove the sericin and accompanying

impurities then get good absorption capacity. This step is

very elegant, because the shade of alkaline water will

directly affect the coloring, so modulation of alkaline

water needs experienced master.

3.2.2. Sprinkle the dioscorea cirrhosa solution

Stretch the refined greige tight weft wise and place on

the lawn, sprinkle the Dioscorea cirrhosa solution on the

surface evenly, then wipe gently with palm fibre brush.

Repeat several times when dried. The thickness of

solution and the heat of the Sun will affect the final

results, so the dosage of solution and the time of

exposure should be guided by the most experienced

masters.

8ISS Symposium-Poster: Traditional

303

3.2.3. Soaking

After sprinkle, soak the dry textile into Dioscorea

cirrhosa solution at room temperature, then place flat on

the lawn to dry, this procedure can be repeated many

times according to quality requirements. To guarantee

the uniform adsorption of condensed tannins on the

surface, thick solutions are used before light ones (Fig.3).

Production of Gambiered Guangdong silk is a hard and

tedious labor, workers mix and crush Dioscorea cirrhosa

to get the solution, soak, bleach and dye gerige, and

then lay them on the lawn, finish, fix, then take back

after 40mins‟insolation; then repeat again and again.

The insolation procedure is completely processed in the

hot sun; Gambiered Guangdong silk at that time is in the

color of ember like fire, waiting to be converted into

bright and beautiful black.

Figure 3.

3.2.4. Mordanting

Mordant is to dye the textile through the medium of

certain kind of dye. This is the most critical step in the

insolation of Dioscorea cirrhosa, the silk will have

magical change in this step also called Daubing mud,

which is to dilute the chosen river mud into slurry with

water, then brush them evenly on the surface of textile

with palm fiber brush, then lay flat on the lawn to

mordant. This work must be completed before dawn,

because the chemical reactions happens on one side only

without the sunlight, so the color will not be infiltrated

into the other side of the silk(Fig.4). The side covered

with river mud is black and brown; the other side is

lighter in color. Then wash the silk and insolate on the

lawn. It takes one week or so to complete the entire

process, the color of Gambiered Guangdong silk changes

slowly from light red to deep red, then black and brown.

Figure 4.

3.2.5 Soaking

Fabric that has been dip dyed soaked again by Dioscorea

cirrhosa solution at room temperature, then spread flat

on the meadow to insolate.

3.2.6 Setting breadth

Put the processing completed Gambiered Guangdong

silk flat on the meadow under higher temperature to

stenter by hand in the aim of shaping Gambiered

Guangdong silk and increasing the fabric breathability.

4. Inheritance and preservation of

Gambiered Guangdong silk

Gambiered Guangdong silk is a special kind of mulberry

silk fabric which was developed under the condition of

the warm and humid weather in Pearl River Delta, which

shows the achievements in dyeing industry of

Guangdong area. Before the establishment of P.R.C.,

insolating of dioscorea cirrhosa was the main dyeing

technique resulting from the underdeveloped dyeing

industry. However, with the improvement of dyeing

industry in China, the requirements of air-drying whose

operation requires strong sunshine are declining step by

step. Especially in 1950s, chemical fiber fabric became

popular and conquered people‟s view quickly because of

its rich color, original texture and changing weave.

Accordingly, the product of Gambiered Guangdong silk

shrinked sharply with its high cost, pure handcraft and

simple color (Lin, 1988). In the late of 1980s, many

factory of isolating Dioscorea cirrhosa went bankrupt, so

it is hard to find Gambiered Guangdong silk in the market.

Meanwhile, dioscorea cirrhosa and the river mud that are

necessary in producing Gambiered Guangdong silk are

decreasing. Hence, as an industry, Gambiered

Guangdong silk can hardly survive in the fierce market

competition，and close to extionction. Nowadays, only

one factory, Chengyi Factory of Isolating Dioscorea

cirrhosa in Shunde, still produces Gambiered Guangdong

silk. However, only several masters there who are mostly

more than 70 years old, know the technique of

Gambiered Guangdong silk. While the young men are

unwilling to do the job because it is intensity of labor.

Gambiered Guangdong silk meets the embarrassment of

no successors。

The production of Gambiered Guangdong silk is

completely by hand, it has rigorously kept the traditional

manufacture method rich in marvelous chemical

reactions and fully shown the achievements of China in

textile and dyeing industry. The research and protection

of Gambiered Guangdong silk has positive significance in

promoting the research on the history of textile and

dyeing industry development, customs, costume,

foreign trade and other aspects.

To inherit and develop this folk art and craft in Foshan,

authorities of Shunde has developed protection

programs which include canvass the techniques of

producing Gambiered Guangdong silk, further study its

characteristics and development in order to discover the

inherent value of this traditional handicrafts; support the

development of Gambiered Guangdong silk

administratively and financially, encourage and support

artists to culture their spreaders to step out the

predicament of lacking successors; promote Gambiered

Guangdong silk as a history business card of SHUNDE

with every effective and feasible means including all

kinds of media.

8ISS Symposium-Poster: Traditional

304

5. Conclusion

As a special method of using earth, the model of

Mulberry plot-fishpond has been focused by many

Chinese scholars. Dating back to the period of Emperor

Guangxu in Qing Dynasty, county annals of Gaoming has

ever wrote that people planted mulberry trees in the field

around the pond where fishes were raised, and the

mulberry leaves are fed to the silkworm while silkworm

faeces are the food of the fish. It created a win-win

situation that harvested ten times more than the

ordinary planting. In 1950s, Mulberry plot-fishpond

began to be researched as an artificial ecosystem.

However, with the increasing of people‟s living standard

in the new century, the living style of Mulberry

plot-fishpond gradually disappeared. Various fruit plants

took place of mulberry trees, which led to the hardship of

Gambiered Guangdong silk‟s production. As a result, the

unique dyeing technique of Guangdong silk born from

Mulberry plot-fishpond faced the danger of extinction.

The characteristics of pure handwork process,

non-pollution, and non-replicable which has won its fame

of environmental friendly dyeing technique also makes it

hard to inherit and preserve. Maybe its value has not

been fully recognized by our people and society. However,

Gambiered Guangdong silk---its origin, grace, and usage,

will regain the extraordinary splendor.

References

Deng, F. (2003). Mulberry plot-fishpond - Pearl River

Delta's main agricultural characteristics.

Agricultural Archaeology, 2003 (3): 193-196.

Lai, Z. L. (2003). On the development of Mulberry

plot-fishpond in Pearl River Delta in the Ming

Dynasty. Agricultural Archaeology, 1: 99-104.

Lin, M. T. (1988). Historical materials of arts and crafts in

Guangdong. Guangzhou: Guangdong Arts and

Crafts Industry Company & Guangdong Arts and

Crafts Institute.

Local chronicles editorial board. (2004). Chronicles of

Guangdong province-silk album. Guangzhou:

Guangdong People's Publishing House.

Qu, D. J. (1985). New comments on guangdong. Beijing:

Zhonghua Book Company.

Zhao, H. S. (1997). Ancient Chinese textile and dyeing.

Beijing: Commercial Press, 1997.

Authors

Ren Guanghui,an Associate professor in Shandong Silk

Textile Vocational College in China. He got Bachelor

and Master in Tsinghua University and MSc in

Suzhou University. He is also a deputy President of

the Fiber Arts Committee of Chinese Arts and Crafts

Institute.

Liao Xue-lin, an Associate Researcher in Foshan Cultural

Center in China, She got her Master degree in the

Graduate School of Chinese National Academy of Arts

8ISS Symposium-Poster: Traditional

305

Analyses with the Cause of Folk Costume Colour Characteristics in Southern Jiangsu Province with Blue as an

Example

Chun-yu PANa, Wen JIANGb

aKey Laboratory of Eco-Textile,Jiangnan University,Ministry of Education,Wuxi, China，E-mail:panchunyu2005@163.com bJiangnan University,Wuxi,China,E-mail:jw1987@qq.com

以青色为例浅析苏南民俗服饰色彩特征的成因

潘春宇 a 姜文 b

a 江南大学纺织生态实验室，无锡，江苏 E-mail:panchunyu2005@163.com

b 江南大学，无锡，江苏 E-mail:jw1987@qq.com

Abstract

South of Jiangsu province is the birthplace of Chinese Wu

Culture.Its different geography and humanity conditions

created its unique artistic characteristics ,especially

reflected in the colour of southern Jiangsu folk costume.In

this paper, blue as an example,according to the

investigation of the physical images ,by the digital color

analysis and statistics method ,summarizing the southern

jiangsu folk costume colour characteristics, combining

with document collection and analysis, it is concluded that

southern Jiangsu folk costume colour characteristics are

caused by five aspects,which are the compatible Wu

Culture, fine operation mode farming,modest and gentle

folk custom,the rise of modern national industry and

commerce, and the local techniques and dyeing materials

adjust to local conditions growing and dyeing. It is further

explored not only mutual influenced but also mutual

restricted relationships among culture type, geographical

conditions,economic mode and technology skills,and

points out that southern Jiangsu province folk costume

colour characteristics are formed typical characteristics of

Chinese traditional color under the influence of many

elements,so that it is a significant research and meaningful

specimen.

摘要

苏南是中国吴文化的发源地，其与众不同的地理与人文条件造就了

显著的服饰艺术特征，形成独特的艺术风格，并重点表现在苏南民

俗服饰色彩上。本文以青色为例，从实地调研获得的实物图像入手，

以数字化色彩分析和统计的方法归纳了苏南民俗服饰色彩特征，结

合文献整理与分析，得出苏南民俗服饰色彩特征的成因集中于兼容

并蓄的吴地民俗、精细操作的农耕模式、率先兴起的近现代民族工

商业与因地制宜的印染材料与技艺等四个方面。并进一步探讨了文

化类型、地理条件、生活风貌、经济模式及工艺技术之间相互制约、

相互影响的内在关系，指出苏南民俗服饰色彩特征是多元素影响下

形成的中国传统色彩的典型特征，具有明显的研究价值与标本意义。

1. 引言

自汉代以来民间广泛推广使用植物染料染色的技术，青色作为

其中代表色之一就受到了民间百姓的喜爱。如唐代诗人自居易在《元

九以绿丝布、白轻绒见寄》中有这样的描述“绿丝纹布素轻绒……裤

花白似秋云薄，衫色青于春草浓。”及至元代，青色印染有了进一步

的发展，细分了很多种，如：蓝青、拂头青、粉青、鸦青等等。明

代的染色工艺和色谱发展程度更高，明代晚期宋应星在《天工开物》

中详细记载了当时江南地区的染料染色技术。其中关于青色系的色

名就有：天青色、葡萄青色、蛋青色、翠蓝色、天蓝色、月白色、

草白色、毛青色等等．到了清代，色彩的名称就更多更丰富了，较

明代增添了许多新的色调。大量的古籍文献印证了靛蓝的起源与发

展。

2. 苏南地区民俗色彩构成分析

苏南指的是江苏省南部地区，主要包括有无锡市，常州市，苏

州市。本次分析对象集中于江南大学民族服饰传习馆。结合江南大

学纺织服装学院民间传习馆藏的苏南服饰，对调研采集的实物图像

进行整理后，分别筛选出可以作为代表且完整清晰的样本，旧衣 53

件，新衣 56 件。将这些样本进行取色采样，数字化的统计方法，

统计其占的面积大小，最后通过计算可以得到各种色彩在总的面积

中所占百分比，如图 1.

图 1 新旧衣各色彩的面积比例变化对比图

图 2 苏州周庄砚江渔唱馆藏品

由图表 1 我们可以看出，新制传统衣服中色彩较旧衣丰富。蓝

色藏青色的比例也有所减少，但是总的来看，青色与藏青色仍然是

比例最大的色彩。

为了验证这一统计结果，笔者又走访了无锡，苏州和常州这三

个城市的古镇。如下图 2 中所示的是苏州古镇周庄的砚江渔唱藏馆

中收藏的人民纪念土地神图案的一块蓝色印花布，底色是靛蓝色，

8ISS Symposium-Poster: Traditional

306

上有白色传统图案印花。图 3 所示的是在苏南民间地区街坊中人们

自制的粗布衣。这种具有苏南特色的土布衣在古镇的小店中比比皆

是。实际观感说明青色色系仍然是苏南一带民俗色彩的最代表性用

色。

3 青色在苏南盛行的原因

青色在苏南地区能够经久不衰，一直占据着人民传统色彩中最

重要的色彩位置的原因是多样和复杂的，有外在条件也有人们的内

在因素。服饰色彩作为一种物质文化形态，其成因也必然与该地区

的地理、政治、经济、文化特征相适应。分析如下：

3.1 自然原因

江苏南部位于长江三角洲冲积平原，气候宜人，水网密布，灌溉

便利，植被茂盛，长期拥有较为现金的农耕技术，农业生产发达。

苏南的气候条件温暖湿润，适宜蚊虫的生长，具有保健驱虫功效的

蓝草染料因而受到民众的普遍欢迎。同时，因为人类受视觉心理作

用的影响，地理环境的某些主导性色彩也是该地区服饰色彩中必不

可少的表现元素。在苏南水乡，建造如图 4 中所示的砖瓦房在苏南

一带特别常见，皂瓦粉壁，青砖砌墙的民居形式较为普遍，与青山

绿水及茂盛植物和谐的色彩关系。

图 3 现代苏南地区民间粗布制衣

图 4 苏州昆山锦溪古镇民居

3.2 文化原因

首先，中国传统服饰色彩语言强调以人本身的感悟为中心[1]，

用色彩来表现天、地、人三者之间的必然联系。在这种思维方式的

指导下，传统服饰色彩的使用更加规范化、系统化、寓意化。色彩

使用的场合、范围以及所表达的情绪都是约定俗成的。作为中国传

统服饰色彩的基础色之一调凌驾于其他间色、复色之上，是东方的

象征色，不仅符合封建社会“别上下、分贵贱”的指导思想。如果说

灿烂夺目的黄色象征着皇权的至高无上，那沉着稳重的蓝色就是民

间百姓的价值标准和审美情趣。

其次，吴文化的形成已经有着 2500 多年的悠久历史，苏南地

区正是吴文化的发祥地。吴文化在长期的历史锤炼中，凝聚了一种

对中华文化的奉献精神，这是一种追求社会发展和现实人的发展创

造精神，是一种在时代变迁既不能消融主体又善于接受外来文化的

开放精神。受吴文化影响下的苏南人民有着淳朴的民风，不喜华丽

艳丽彩色的搭配，偏爱素色淡雅的色彩。在苏南地区的古镇中，我

们处处可见保留至今的有青色的砖瓦，蓝色的印花布，青灰色的妇

女头巾用品等。青色也恰巧符合了当地文化的内涵。

再次，苏南地区的人民生活安宁，他们淳朴勤劳，他们的性格

决定了他们喜欢淡雅素净的色彩。蓝色这种含而不露、端庄大方的

美，与封建礼教下人们求含蓄、朴素的审美情趣相契合。

最后，蓝色与亚洲人种的肤色相配能达到良好的效果，尤其是

藏蓝色更具有东方色彩，能将肤色衬托得更暖。久而久之，蓝色的

自然属性与苏南地区人民的气质、性格得到了完美的结合，在大众

的服饰中始终占有稳固的地位[2]。

3.3 技术原因

在早期时代，中国的染缬工艺就有所发展，人们用天然植物或者

矿物质对织物或者毛皮进行染色。春秋时代，匠人们在生产实践中

掌握了制靛染青的工艺，使染蓝作业摆脱时间的限制，染蓝作坊大

批出现，也使蓝草的种植更加普遍[3]。早在《齐民要术》中，就用

文字详细记录了蓝草制靛蓝的方法。由此可见，当时蓝草染色的技

术十分成熟，并且通过文字记录后，染色技术可以得到很好的传承。

技术的纯熟与传承为青色能够在历史长河中经久不衰提供了技术上

的保障。

另外一方面，由于苏南一带的土壤偏碱性，非常适宜棉花种植与

靛蓝的生长，在明清朝末期，苏南地区就成了最大的棉花种植地与

出口地。为棉纺织业与印染业的发展提供了丰富的资源与良好的条

件。

3.4 经济原因

长期以来，苏南地区高度发展的商业文化猛烈地冲击着自然经

济的保守体系，逐步培植起以利为本，以金为尊的价值观念。近代，

民族工商业在苏南地区得到飞速发展，随着合成染料的出现，传统

染料受到了前所未有的冲击，化学染料染色方法便利、价格低廉且

色彩鲜艳、色牢度高等优势渐渐替代了传统的植物染料。但青色并

未在此次技术革新中淡出，反而以另一种独特的优势占领了市场。

中国的靛蓝染料曾在 16 世纪由于大量出口而引起法国亨利四世的

恐慌，称其为是“恶魔的食物，有毒的药剂”，下令禁止进口。但与

他的愿望相反，欧洲的进口靛蓝不减反增。直至德国发明了合成靛

蓝，中国由染料出超国变为染料入超国，且输入量逐年增加。有资

料表明，民国 20 年(1931 年)，中国进口合成靛蓝总额达官银

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17424568 两。可见进口靛蓝染料的数量之多。率先兴起的民族工

商业，使得青色织物得以大规模的生产。与此同时，传统靛蓝染色

也并未停止，各地洗染坊也纷纷出现。形式也多种多样，有的是合

作组织，有的是公私合营。整体来看，青色系染色的经济状况发展

都呈现欣欣向荣的景象。发达的近代民族工商业促使青色染料能够

顺应时代科技的革新。

4. 各因素之间的关系

自然环境、文化因素、技术手段和经济条件之间相辅相成，相互

之间联系万千，相互影响。自然环境影响着民风民俗，在苏南地区，

鱼米之乡，山清水秀，给人们提供了安宁和乐的生活氛围，造就了

他们恬静的性格与喜爱素雅色彩的品质[4]。

从文化人类学角度来说，人类的一切经济活动，同时也是文化

活动，都具有文化意义。经济与文化的关系本质上是一种共生互动

的关系。以太湖流域为核心的吴文化去，是著名的“水乡泽国”，历

代靠东人民以自己的聪明才智和辛勤劳动创造了能灌能排的水利系

统和四通八达的内河航运系统，造就了集稻作文化、渔文化、舟楫

文化、桥文化、桑蚕丝文化等为一身的高度发达的农业文明，创造

了古吴文化的辉煌。温婉的民风形成了当地特有的东吴文化。

人类的任何经济活动都离不开特定的区域空间，区域经济的发

展在客观上需要拥有与之相适应的先进的地域文化，而先进的地域

文化也必然会有力地推动区域经济的健康、持续发展，从而形成区

域经济与地域文化的良性循环[5]。

自古以来，由于中原地区动乱频仍，这在客观上造成了吴文化

与中原文化交融的契机。自东汉以来，我国北方战事不断，中原人

一批一批南迁，尤其是南宋朝廷偏居临安，使得迁往吴地的中原人

越来越多。这种一次又一次的南北经济文化融合，带来了农业、手

工业和商业的快速发展，同时也形成了农业文化、商业文化、水乡

文化和市井文化共同繁荣的景象[6]。

兼容与创新并举，造就了吴文化强烈的开拓精神和巨大能动性，

对吴地的社会经济发展产生了深远的影响。由兼收并蓄而造成的多

元经济结构，使这一地区与中原内地的单一农耕经济结构有着显著

的不同。司马迁曾在江南考察，他在《史记》中称，秦汉以来吴地“无

干金之家，亦无冻馁之人”，描写了吴地较为兼容宽松的社会生活结

构。勤劳、精巧、柔韧、秩序构成了吴地民众的经济价值观。勤劳

意味着生活水平的提高，多劳与多得的对应关系，使得吴地民众普

遍具有追求剩余的强烈冲动。勤劳吃苦是吴地民众基本的价值观，

它主宰并衍生了吴文化的方方面面。勤奋刻苦，锲而不舍，做事必

底于成，这是一种可贵的敬业精神。勤劳者必然节俭节技术的革新

决定了经济的良好发展，科技在经济生产中发挥的作用是巨大的。

从原始文明发展到今天的现代文明，在人类几千年文明史中，科技

发展在人类的物质文明以及经济生活方面起到了巨大作用。从劳动

工具到交通工具，从矿产资源的开发到居住空间的改善，人类生活

的一切领域无不参透着科技的力量[7]。马克思就说过“科技是生产

力”，邓小平说“科技是第一生产力”，先进的科技条件，带来更多的

经济效益。合成靛蓝的发展，节约经济成本，使得靛蓝能够得到大

规模的生产使用，繁荣了民族工商业，民族工商业的发展使得先进

的技术不断引进。

天时地利人和等各个有利条件，各个因素之间相互影响，相互

制约，共同作用才有了今天的结果，使得青色成为了苏南民俗色彩

中漫长历史中重要的组成色彩。

5. 结论

通过对各个因素的全面分析，我们得到以下结论：

1 在苏南地区从古时候到现在，民俗色彩更加丰富多样，但是

青色至始至终占据着重要的地位，都是民间服饰中最具有苏南特色

的色彩之一。

2 苏南民俗服饰色彩特征的成因集中于兼容并蓄的吴地风俗、

精细操作的农耕模式、率先兴起的近现代民族工商业与因地制宜的

印染材料与技艺等四个方面。

3 四个方面的因素相互影响，相互制约共同作用，形成了苏南

地区青色盛行且经久不衰的原因。

致谢

感谢江南大学纺织服装学院对本项研究提供的支持，感谢江南大

学纺织服装学院民间服饰传习馆给予此项研究提供更多的实物考证。

同时，也要感谢中央高校基本科研业务费专项资金资助，此项目编

号为 JUSRP21150

参考文献

[1]高星.浅析中国传统服饰色彩体系的多样性[J].南通纺织职业技

术学院学报,2009,9(3):50-53

[2]刘元风，胡月．服装艺术设计[M]．北京：中国纺织出版社，2006：

150—156

[3] 王玮.草木染的工艺技术与艺术审美特征探析[J].丝

绸,2009,(1):52-55.

[4]朱彦,屈德印.论传统民族服饰色彩的文化内涵[J].新美

术,2007,28(4):90-92.

[5] 欧人.论苏南经济发展模式与吴文化之关系[J].现代财经－天

津财经学院学报,2004,24(12):65-68.

[6] 戴先杰,王丽娟.吴文化与江苏经济[J].人文地

理,2001,16(4):85-88.

[7]汪振军.以科技创新促进文化产业发展[C].//第十届中国科协年

会——文化强省战略与科技支撑论坛论文集.2008:38-41.

作者简介

潘春宇

潘春宇（1974.01—），江南大学纺织服装学院副教授，硕士生

导师，中国流行色协会教育专家委员会委员。 多年从事“时装与纺

织品设计”教学并侧重于服装文化学和设计色彩学的研究工作。

8ISS Symposium-Poster: Traditional

308

姜文

姜文（1987.04- ），江南大学纺织服装学院设计艺术学 10 级

在读硕士，主要研究方向为传统棉纺织品的色彩复原与传承

8ISS Symposium-Poster: Traditional

309

The history and Development of Felt in Inner Mongolia

Shuiju HAOab, Huie LIANGa

aSchool of Textile &clothing ,Jiangnan University, Wuxi Jiangsu, Email: running94@yahoo.com.cn bInner Mongolia agriculture university,Hohhot Inner Mongolia, Email: soozi@126.com

浅议内蒙古地区毛毡的发展历史

郝水菊 ab 梁惠娥 a

a 江南大学纺织服装学院，江苏无锡，Email: running94@yahoo.com.cn

b 内蒙古农业大学材料工程与艺术设计学院，内蒙古呼和浩特，Email: soozi@126.com

Abstract

Felt is a kind of nonwoven meshes made of wool, invented

by northern minorities in order to adapt to nomadic

lifestyle.It is mainly used in the north of our country

especially Inner Mongolia,and it is the necessities in the life

of northern part of the country.This paper briefly back the

origin of felt and nearly 2000 years history.Summarizes

the five main stages and characteristics of the felt

development history .Through the history of the felt in

Inner Mongolia ,Reveal the development regularity and

cultural connotation.

摘要

毛毡是我国北方少数民族为适应游牧生活而创造的一种以羊毛

为主要原料的无纺织物，主要应用于我国的北方地区特别是内蒙古

具有悠久的发展历史，是北方人生活中不可或缺的日用品。本文通

过简要追溯毛毡的起源及其近 2000 发展历史，总结了毛毡发展历

史的五个主要阶段及其特征，揭示毛毡的产生发展规律与文化内涵。

毡是动物毛（主要是羊毛、骆驼毛、牦牛毛等）经湿、热、挤

压等物理作用而制成块片状的无纺织物，具有良好的回弹、吸湿和

保暖等性能。“氈”、“旃”、“旜”都是毡的古异字。《说文》中有：“毡，

毛撚也。”或曰：“吸毛成毡”。《周礼·天官·掌皮》记载：“共其撬毛

为毡”。可见我国民间生产的毛毡制品早在周朝就有记载和应用。毡

蓬、毡毯、毡帘、毡靴、毡帽等毛毡制品，现在仍在各地人民和少

数民族中使用。

内蒙古自治区气候寒冷，有着非常悠久的毛毡制作和使用历史，

毛毡制品一直深受当地农牧民的喜爱。十一届三中全会之后，随着

工业化进程，毛毯等羊毛制品种类的增多，原始毛毡的粗糙质地和

单调的色彩逐渐过时，除了产业用毡外，已经很少有人使用毛毡了，

传统毛毡的制作工艺也一度面临失传。但近年来，随着返璞归真风

潮的兴起以及人们对传统文化传承认识的深化，时尚界开始重新关

注毛毡。本文通过对内蒙古毛毡历史的追溯，将其按发展过程划分

为五个阶段，从中总结其产生和发展规律、特征及文化内涵，挖掘

传承毛毡制品的历史文化价值，古为今用，振兴我国的传统毛毡产

业。

1. 毛毡的发展历史溯源

1.1 毛毡的产生阶段——约公元前 10 世纪至公元前 3 世纪（匈奴、

契丹、鲜卑统治时期）

匈奴是我国古代重要的少数民族，秦汉时期统一北方草原，形

成强大的奴隶制军事政权，他们以以游牧狩猎为生，随水草迁徙。

为适应其游牧生活，他们就地取材用羊毛擀制毡子搭建居住的帐篷，

后逐渐演化为"蒙古包”。毛毡正是基于这样的实用需求而产生的，

主要的毛毡制品有：毡帐、铺毡、毡裘、毡车、毡帘、日用毡制品

等。

蒙古包是蒙古族等游牧民族传统的居所，在汉语古籍中称为“穹

闾”、“穹庐”、“毡帐”、“氈帐”、“百子帐”等。据《黑鞑事略》记载：

“穹庐，皆以毡为衣，马上可载。”[1]由此可见，其主要包裹材料就

是毛毡。蒙古包的使用历史悠久，早在春秋战国时期，我国北方的

少数民族“荻”、“北夷”已经在普遍使用毡帐了。据《史记·天官书》

记载：“北夷之气如群畜穹闾，南夷之气类舟船幡旗。”[2]北夷正是

居住于穹闾中的北方民族。匈奴是崛起于秦汉时期北方游牧民族，

居住于“穹庐”中，据《史记·匈奴列传》记载：“匈奴父子乃同穹庐

而卧”。《周书·列传第四十二》：“其（鲜卑）俗被发左衽，穹庐毡帐，

随水草迁徙”。鲜卑曾是蒙古草原上活跃的一个民族，北魏是鲜卑族

拓跋部建立起来的少数民族政权。《北史·列传第八十七·突厥铁勒传》

又载突厥之俗为“被发左衽，穹庐氍帐，随逐水草迁徙。突厥自匈奴、

鲜卑之后称雄蒙古草原，穹庐氈帐是突厥居所。西夏是党项族建立

的王朝，《番汗合时掌中珠》是一本西夏文和汉语双解词典，所列日

常用品中也有毡帐。通过以上古籍资料可知，从蒙古草原上不时冲

杀出来的匈奴、鲜卑、突厥、契丹、党项等游牧民族皆以“穹庐”或“庐

帐”为居所。也证明了毛毡在北方游牧民族中的起源与作用。

除用作毡帐的毛毡外，还有用作服饰品的毛毡制品。包括服装、

毡帽、毡鞋等。《汉书·匈奴传》载匈奴服饰：“自君王以下，衣其皮

革，披旃裘”；《北史·列传第八十七·突厥铁勒传》：“以畜牧射猎为

事，身衣裘褐”；玄奘《大唐西域记》云：呬摩咀罗国“举措威严，

衣毡皮褐，颇同突厥”[3]。此外，通过一些文物棺画我们可以发现

原始毛毡制品的实用功能与广泛应用性。例如在内蒙古赤峰市克什

克腾旗二八地 1 号辽墓出土的石棺上绘有五组石棺画。其中《契丹

住地生活小景》中绘有两个契丹人，脚穿黑毡靴。《备马图》中有两

名契丹奴仆，其中一人脚穿白毡靴。[4]由此得知，在原始游牧阶段，

这些北方少数民族使用未经染色的羊毛作为制毡原料，毛毡制品只

有黑白二色，较为朴素。

游牧民族的交通工具是车和马。据《辽史·仪卫志》记载：“契

丹故俗，便于鞍马，随水草迁徙，则有毡车”,《辽史·仪卫志》：“送

终车，车楼纯饰以锦，螭头以银，下悬铎，后垂大毡，架以牛。”[5]。

《番汗合时掌中珠》所列日常用品中也有马毡的记载，正是这种在

马上使用的毡子在后来逐渐演变成了马鞍。今天在手工制作的马鞍

中还会加入毛毡，起到减震和增加摩擦的作用。此外还有毡帘、枕

毡、铺毡等日常用品的记载。可见，伴随着生产力的发展，毛毡的

用途越来越广。

1.2 毛毡的发展阶段——约公元前四世纪至三世纪（赵武灵王推行

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胡服骑射、汉朝）

据《汉书·匈奴传》记载“其得汉絮缯，以其草棘中，衣袴皆裂

敝，以视不如旃裘之完善也。”可见早期游牧民族并不接受来自中原

的纤细迤逦织物，而在赵武灵王改革服装，推行“胡服骑射”之前，

中原人出于对胡人的鄙视心理，也没有使用毛毡的习俗。胡、汉经

过长时间的交流与融合中，贵族阶层认识到丝绸布帛舒适、美观的

性能，逐渐接受并将其用于服饰上，而汉人特别是皇室，喜爱胡风，

毛毡制品因而得以进入中原，与中原先进的纺织、刺绣技术结合起

来，有了很大的发展。

匈奴在这一时期开始将毛毡与丝绸结合起来使用，以达到实用

与美观兼具的效能，随着丝绸与刺绣技术传入草原，人们开始在毡

子上进行各种装饰，毛毡开始向精细化发展。在诺彦山苏朱克图谷

口东部六号匈奴墓葬出土衣冠中有黄缎面毡鞋，还有一顶带护耳的

帽子，帽顶用薄毡制成，外表是毛织品[6]。汉末蔡文姬《胡笳十八

拍》中有“毡裘为裳兮”[7]的句子，说明那时的毡子加工精细，性能

好，可以服用。蒙古诺因乌拉的东汉匈奴墓出土了一批绣以花卉禽

兽纹的毡。质地密实表面平整光滑，象经过重物碾压过一样，用彩

色丝线刺绣，在毡的四缘围以绢帛。这批出土的花毡，与东汉马融

在《樗蒲赋》中描述：“素毡紫罽，出于西邻，缘以繢绣，紩以旖纹。”

的记录一致。证明此时已有刺绣印彩技艺用于毛毡的装饰。

西汉时毛毡传入中原地区，由于毛毡质地密实，隔潮保暖且经

久耐用，具有布帛、席子无法比拟的优良性能，因而广受欢迎。但

擀制毛毡需要大量羊毛，普通百姓并不容易获得，《汉书·食杂志》：

大商人若拥有“毡席千具，亦比千乘之家”。这里，毛毡已经脱离原

来的使用功能，成为财富的象征。毛毡的品种除铺毡之外，还有毡

帽、毡裘。在《风俗通》中：“汉文帝戎服衣罽，袭毡帽”。[8]从《盐

铁论》“燕齐之鱼盐毡裘”和《北齐书·文苑传》“造毡为业，常优饶

之”[9]，可以看出，西汉时，今天的河北山东一带也产毡，而到北

齐时，山西产毡数量大，质量高。随着汉人对制毡技术的掌握，毛

毡开始在全国范围生产和使用。

1.3 毛毡的鼎盛阶段——约公元五世纪至公元十四世纪（隋唐、宋、

元朝）

隋唐是时期，民族融合促进了毛毡使用范围的扩大，制毡开始

由专门机构负责，其产品主要为了满足皇室成员和达官贵人的生活

所需，象征财富与阶级。毛毡的产地范围继续扩大，各地生产的毛

毡制品风格迥异，毛毡制作的中心已经由西北少数民族逐渐向中原

迁移了。

唐朝官府的织染署下设有“毡毯坊”，专门制毡。《事物纪元》记

载：“唐有毡坊、毯坊，至五代合为一，至宋朝则因之。”《唐六典》

记载：“凡大驾行幸，欲役三部帐幕，帐皆乌毡为表”[10]。唐代著

名的产地有原（今甘肃固原县）、夏（今陕西横山县西）等州出白毡，

安西（今包括龟兹、疏勤、于田、焉耄等处）出绯毡。《酉阳杂俎》

记载“唐安禄山恩宠无比，其所赐有绣鸱(大雕)毛毡”[11]；此时毡

的品种有乌毡、白毡、绯毡、浑脱毡、绣鸱毡、花丛毡、青毡．碧

毡、紫茸毡等十余个花色品种。

宋代的制毡规模，虽不及唐代发达，但毡的使用数量仍很大。

据《宋史·食货志》记载：“太宗时，有司请造龙图天章阁，覆栏槛

青毡四百具。”宋范成大《桂海虞衡志》记载：“蛮毡出西南，诸番

以大理者为最，蛮人昼披夜卧，无贵贱，人有一毡”[12]。由此可

知，宋代的制毡业已经非常普及了，西南少数民族也有使用毛毡的

记录，至今这种披毡在彝族和白马藏族中仍然在使用。

元代是由蒙古族建立的政权，游牧民族对毛毡的特殊感情，促

进了制毡业的发展，蒙古族在领土扩张的同时，吸收其他民族的生

产工艺和技术，使得毛毡的制作工艺和装饰程度达顶峰。元代《大

元毡罽工物记》记载官庭用毡，纤维原料除羊毛外，也选用骆驼毛、

牦牛毛等。染料及助剂有：淀(靛)青、槐子、茜根、松明子、黄芦、

荆叶、牛李、棠叶、橡子、落黎灰、黑沙等植物染料。另有白矾、

绿矾、羊骨头、花碱、石灰、醋黄蜡、寒水石、白芨、大麦等用作

媒染剂和整理剂。毛毡的品种有：披毡、掠绒剪花毡、衬花毡、衬

布答毡、海波失花毡、蒙鞍花毡、毡帽、毡衫等六十余种。其常用

的色彩有深红、粉红、天青、柳黄、明绿、银褐、黑、白等[13]。

此时大量的毛毡依然被用在蒙古包上，《鲁不鲁乞东游记》中对

蒙古包用毡的描述：“他们以白毛毡覆盖在骨架上面，并常常在毛毡

上面涂以石灰或白粘土和骨粉，使之更为洁白，有的时候他们也把

毛毡涂黑。覆盖在烟囱周围的毛毡，他们饰以各种各样的美丽图画。

在门口，他们也悬挂绣着多种颜色的图案的毛毡；他们把着色的毛

毡缝在其他毛毡上，制成葡萄藤、树、鸟、兽等各种图案”，[14]

《多桑蒙古史》中记载了普通百姓使用的毛毡：“外覆以毡，用马尾

绳紧束之。门亦用毡，户向南。全家皆处此狭居之内。”[15]这一

时期毛毡的制作向两级化发展，上层社会极尽奢华，而普通百姓依

然沿袭原始的技术与功能。

1.4 毛毡的衰落阶段————约公元十四世纪至二十世纪末（明清、

民国、解放前后）

明清的制毡工艺技术大都继承于元代。除供达官贵人享用外，

还出口欧洲。在中原地区，制毯业迅速发展，毛毡的使用开始逐渐

退出皇家及贵族，在游牧民族和普通百姓中仍然继续广泛使用。毛

毡的普及化导致其品质的下降，制毡业逐渐式微，制毡的中心开始

转向边疆少数民族地区。

清末民国时期，伴随着工商业的发展，内蒙古地区的制毡业曾

有短暂的繁荣，毛毡毯行被称为“旃檀社”，制毡业尝试走上工业化

道路。据《归绥县志》记载：“归绥工商业凡六十八（行）两千一百

三十四户，以毛织为最”[16]，毡制品是不可缺少的防寒用品，销

路也极广、好的毡制品能远销新疆，至于邻省如山西、河北等地也

争相购买。所以当时此地的毡坊很多。清末有三十多家，极盛时期

达到五十多家。但是从 1940 年后，日本占领者统制皮毛，禁止毡

坊生产非军事产品。这时毡坊生产量大大降低。此后，由于绒毯、

洋毯盛行，城里用毛毡的越来越少，毡坊走向消亡。

民间用毡主要由一种走村串户找活干的擀毡手艺人，俗称“毛毛

匠”的来制作。在我国西北农村，有需要擀毡的，就请匠人住在村里，

给全村人擀毡。“毛毛匠”只在农闲的时候出来揽活，并无专门从事

这一职业的人，他们多结伴而行，工具简陋，制作的毛毡也很粗糙，

完全以实用为主，很少有装饰。在进入二十世纪八十年代后，工业

生产的地毯价格便宜，美观实用，“毛毛匠”也逐渐失去市场。毛毡

业的生产逐年冷谈，渐渐地退出了人们的日常生活，只在牧区作为

蒙古包用毡还在使用。

1.5 毛毡的复兴阶段——二十一世纪初至今

从内蒙古地区来看，自 1999 年，党中央启动了西部大开发战

略以来，具有民族特色的传统手工艺品以其独特的风格与文化内涵

吸引着各族群众。民族服装、民族餐饮、特色民族用品等都开始成

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为市场新宠。然而，作为起源于游牧民族，最具代表性的毛毡制品

却随着游牧民族走向定居，而日渐衰微。就连蒙古包用毡也多采用

价格便宜的丙纶毡。少数用于制作毡画的羊毛毡质地疏松、轻薄，

尺寸的稳定性差，价格低廉。其它毛毡旅游纪念品，做工极粗糙，

价格便宜，除极少数外地游客购买外，当地少有人问津。这些仅存

的毛毡制品也多采用机器生产。而懂得传统毛毡制作技术的人多是

出生于上世纪二三十年代，如果不及时进行抢救性的整理工作，这

些手艺也随时可能失传。与其形成鲜明对比的是蒙古国进口的毛毡

制品，主要有毡靴和毡鞋，它们多采用染色毛毡，并在上面进行绗

缝和刺绣装饰，做工精美，售价昂贵，因其量少而供不应求。自工

业革命以来，产品设计越来越国际化，人们在享受了整齐划一的时

尚之后，开始从心灵深处挖掘独特的民族认同感，在近年来的时尚

舞台上，具有民族文化特色和原始质朴风格的产品越来越欢迎，与

内蒙古气候相近的俄罗斯以及一些北欧国家，毡帽和毡靴以全新的

风貌重新回到了人们生活中，他们的成功经验为我们复兴毛毡产业

提供了很好的参照。由此可见，人们对于毛毡制品并不是不再喜爱，

而是有了更高的要求，即精致与个性化诉求。

随着经济社会的飞速发展，社会主义核心价值的追求与体现不

容忽视。保护和传承传统文化对于加快经济发展和提高全民道德素

养具有重要意义，因此，今年中国共产党第十七届中央委员会第六

次全体会议上，就明确提出了文化强国的必要性和紧迫性。会议提

出：“文化是民族的血脉，是人民的精神家园”。党的十七届六中全

会研究部署深化文化体制改革、推动社会主义文化大发展大繁荣，

进一步兴起社会主义文化建设新高潮，对夺取全面建设小康社会新

胜利、开创中国特色社会主义事业新局面、实现中华民族伟大复兴

具有重大而深远的意义。国家对于文化产业的重视势必对挖掘传统

文化内涵和保护传统手工业起到的积极地作用，毛毡的复兴时机到

来了。

2. 毛毡发展历史阶段的主要特征及规律

纵观毛毡发展的历史阶段，毛毡的发展经历了产生、发展、鼎

盛、衰落以及当今的毛毡业振兴五大阶段，每个阶段都有各自的特

征：

在毛毡产生阶段，其最初的用途主要是毡帐的包裹物，伴随着

生产能力的提高，逐渐扩大至服饰和其它生活用品。原始毛毡制作

工艺简单，且没有进行染色加工，只有黑白二色，以实用为主，较

少有装饰。阶级性不明确，贵族和奴仆均可使用，具有原始生活用

品的基本特征。这一时期的生产中心在游牧民族聚居地区。

毛毡的发展是在游牧文化与桑农文化的碰撞下产生的，在毛毡

制品与纺织产品的相互借鉴与融合过程中，毛毡的工艺和质量有了

很大的提高，并且很快与中原的刺绣技术相结合，使毛毡制品更加

绚丽精致。印染技术的运用使毛毡摆脱了单一的色彩，通过表面用

丝绸进行镶拼、包裹等技巧的运用，毛毡改变了原有的粗犷风格，

逐渐向精细化发展。伴随着毛毡进入以农业生产为主的中原地区，

毛毡不再是游牧民族特有的生活用品，而逐渐成为上层社会专属用

品。这一阶段的毛毡工艺复杂，质地上乘，装饰繁多。呈现出了多

元化、精细化的发展趋势。开始逐渐由原始的实用品向艺术品和收

藏品过渡。制毡业的中心开始向中原定居地区转移。

毛毡业发展的巅峰阶段是我国封建社会的鼎盛时期，对外交流

频繁。隋唐和宋元时期，统治阶级思想开放，国家兴盛强大，与西

域、波斯等国的交流与贸易促进了制毡业的发展、制毡业呈现出规

模化与多样化特征，所生产毛毡的数量和质量都达到了最高峰。全

国各地的制毡业同时发展，各地的特色不同，制毡业呈现多极化发

展状态。整体看制毡业的中心仍然在中原的定居地区。

毛毡业的衰落伴随着游牧民族在封建王朝统治地位的消失和羊

毛的多样化使用开始走下坡路。明清时上流社会毛毡的使用已经逐

渐让位于地毯，毛毡的发展逐渐衰落。清朝末年，由于社会的动荡

和战争的爆发，人民的生活水平开始下降，在精细的地毯制品无法

获得的情况下，制毡业曾经略有抬头，小的加工作坊和行会在这一

时期产生，但是总体看来，工艺水平和产量已经无法与前朝相比，

毛毡制品回归简朴风格。由于西北人家多以炕为睡榻，毛毡的隔潮

的性能非常适合铺炕，因此受到普遍欢迎。这一时期，北方的游牧

民族和汉族均有使用，呈现出明显的地域特色。其生产中心主要在

西北地区，擀毡的手艺人多为山西人。如今，毛毡制品进入复兴阶

段，在全球化背景呈现出全新的生命力，并将以“文化强国”为契机，

为设计师提出其设计和应用的新课题。

3. 结语

内蒙古自治区从古到今生活过很多的游牧民族，由他们所创造

的毛毡制品在历史的进程中曾有过辉煌灿烂的文明，它的兴盛与衰

落符合一般手工制品的发展规律，它的变化与发展受社会政治经济

影响，体现了人们对精致生活和民族认同感的追求，当前，我们应

抓住“文化强国”这一有利时机，以传承和保护非物质文化遗产为前

提，开发具有民族特色与时代精神的毛毡产品，为繁荣社会主义文

化产业复兴毛毡产业做出贡献。

参考文献

[1]王云五，黑鞑事略[M].北京：商务印书馆，1937:356.

[2]张大可，史记全本新注[M].西安：三秦出版社，1990:1345.

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修办公室．呼和浩特史料[c]．第3集。1983:74~170

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作者简介

郝水菊（1981—）女，内蒙古农业大学讲师，江南大学研究生在读。

研究方向为服饰文化与服装设计。

通讯作者：梁惠娥，教授。

基金项目：中国民间土织布艺术研究，教育部人文社科基金规划项

目，09YJA760015

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313

Study of Trappings Culture Protection from Yushu Khampa Tibetan

Lan QIAO

Sichuan Normal University fashion Institute, 351 Honghe road, Jinjiang district, Chengdu, Sichuan,

Email:339548527@qq.com

玉树康巴藏族服饰文化保护研究

乔兰

四川师范大学服装学院，成都市，四川省，Email:339548527@qq.com

Abstract

Qinghai Yushu Tibetan Khampa dialect speakers, general

the Tibetan language. Their national costumes, is the

physical state of the national dress, folk, spiritual triple

body system combines together. Create a national culture,

and cultural achievements of the same ethnic, cultural and

national go hand in hand with each other to save. Tibetan

intangible cultural heritage is rooted in specific natural and

humanistic environment, with the local community has a

natural history, culture and emotional connection.

Post-disaster Tibetan intangible cultural heritage

protection of the rescue，is an emotional connection with

the Tibetan people, encouraging them to rebuild

confidence in an important measure.

摘要

青海玉树藏族讲康巴方言，通用藏语文。他们的民族服饰，就

是将民族服饰的物态，民俗，精神三重机构系统结合在了一起。民

族创造了文化，文化同样成就了民族，文化和民族如影相随，相互

拯救。藏族非物质文化遗产植根于特定的自然和人文环境中，与当

地民众有着天然的历史、文化和情感联系。灾后藏族非物质文化遗

产的抢救保护是尊重文化遗产与藏族民众的情感联系、鼓舞他们重

建家园信心的重要举措。

1. 康巴族服饰的历史演变

1.1 康巴族服饰的源头

玉树藏区的康巴族即康区的藏族。康区多指青藏高原东南部的

横断山区，旧称“朵思甘”地区。具体包括：西藏昌都地区、云南迪

庆州、四川甘孜州、青海玉树州以及那曲东南一线。 康巴地区历史

上处在汉藏过渡地带，在行政、宗教，经济和文化等方面都有明显

的地域特征。青海玉树藏族讲康巴方言，通用藏语文。藏族信奉藏

传佛教，有自己的语言和文字。十世纪到十六世纪，是藏族文化的

兴盛时期，几百年间，藏族文化大放异彩。研究藏、彝、白、哈尼、

纳西、怒、土家等族的历史，都必须探讨与藏族的关系，那么探讨

藏族必联系藏族文化。藏族服饰又是研究其文化的最主要的路径之

一。服装服饰作为族群区别的标志，可以说是随着氏族，部落民族

的产生而产生的。而少数民族服饰，就是将民族服饰的物态，民俗，

精神三重机构系统结合在了一起。所以说民族创造了文化，文化同

样成就了民族，文化和民族如影相随，相互拯救。

1.2 康巴族服饰演变的重要时期

藏族人民自古就在世界屋脊上过着 “逐水草而居”的游牧和半

收半农的生活，因而在服饰上有独特典型的雪域高原民族风格。由

于吐蕃时期疆域辽阔,各地区的服饰文化在形成发展过程中,又广泛

吸取和融合了青藏高原及其周边地区许多国家、民族的服饰文化优

势,这就造成了各地区服饰的较大差异,其主要表现在藏区东北部东

女,附国,党项等部落的服饰差异上。党项,是一个纯游牧民族,服饰习

俗中头戴乌突骑帽,身穿长袍,下着小口裤,足穿皮靴,与今藏东康巴

牧区藏族服饰类似。此外青海地区的吐谷浑,贵妇人披锦花,戴金花

冠,妇女发型为辫发披后,饰有珠贝、珊瑚,这一类服饰与今康巴藏族

妇女服饰大致相同。以上这些远古服装服饰表现特征应是今天藏族,

尤其是东部康巴地区藏族服饰的最初母型。

2. 康巴族服饰之现状

由于藏族人笃信佛教,因而服饰的造型和图案也具有强烈的宗

教象征意味。名贵而玄秘的九眼宝石、象牙佛珠、珊瑚项链、象牙

圈、密蜡宝石、金护身盒,右旋海螺等,从中无不寄托着他们对神灵

的祈祷、对现实生活的珍惜和对未来美好理想的渴望追求。这种把

理想、信仰、财富、文化、审美熔为一体的服饰艺术,是藏族服饰文

化的一大显著特色。特别是金银制品上所表现的富有朝气和民族特

色的装饰纹样,如日月造型、“朗久旺丹”图案、“雍宗”图符、“吉祥

八宝”图案(吉祥结、妙莲、宝伞、右旋海螺、法轮、胜利幢、宝瓶、

金鱼) 等。这类具有深刻象征内涵的宗教图案,经过民间艺人们的匠

心处理,使单纯的图案,不仅纹样构成变化丰富,装饰性浓厚,而且注

入了世俗化的意味。逐渐成为藏民族世代相传,经久不衰,喜闻乐见

的服装佩饰纹样。

色彩是康巴藏族服饰点缀美的灵魂，他们在服饰色彩中应用了

色彩的对比和调和，使服饰文化的色彩产生韵律感；运用最多的红、

黄、蓝、绿、白和黑色往往包含了宗教的象征意蕴，又归纳了雪域

大自然所呈现的直观表征。他们认为蓝、白、绿、红、黄五彩是菩

萨的服装，蓝色代表蓝天，白色表示白云，绿色表示河流，红色表

示空间护法神，黄色表示大地。他们喜欢在服饰上使用对比强烈的

色彩而这些激情的、张扬的色彩与大自然的色彩相互辉映，形成统

一和谐的画面。

康巴服饰既具有藏民族的共性特征，又别具地方个性特色。广

泛运用金银珠宝装饰也是康巴藏族服饰的一大艺术特色，体现了他

们鲜明的民族个性和务实的审美价值观念。另外，就地取材，充分

利用原生动物材质自然美所形成的质朴、天然之趣，更使康巴服饰

充盈着一种与大自然博大胸怀相依相衬的雄浑气魄和钟灵神韵。

康巴汉子的服饰品主要有象牙发箍，金银镶边的红珊瑚大耳环，

珊瑚、玛瑙、琥珀等珠宝项链，用金、银、铜精制的佛盒“嘎乌”、

大镰盒等，腰际横插或斜佩长藏刀、短吊刀，手指上戴有金银并镶

嵌有珊瑚等珠宝的戒指。藏袍的外套用绸缎、布、毛织氇氇品等制

成，以水獭、虎、豹等皮镶边，脚蹬藏皮靴或红黑相间的毛质氇氇

尼靴，头扎一根又黑又亮的长发辫，夹以红、黑、蓝等大股丝、绒

线，盘头而绕，尾端呈散状，垂落于头侧，显得扬扬洒洒，威武剽

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悍；着帽的或戴金毡帽，或戴狐皮帽，愈显雄姿英发，滞洒自如。

着装上康巴汉子一般将藏袍下摆提升至膝盖以上，脱两袖扎于腰际，

腰间除火镰等佩物外，一把横撇的长刀十分耀眼，加上头上飘洒的

“英雄结”，倍显剽悍，粗犷英武。

康巴，包栝西藏昌都，云南迪庆，青海玉树、果洛，四川甘孜、

阿坝等地区，康巴服饰因小区域自然地理环境与地域文化之差异，

形成了独具地方特色的康巴服饰习俗，俗称康装。它以其夸张的形

制、明朗的色彩、古朴的纹饰、厚重的质地、多彩的款式、深邃的

文化内涵，在藏族服装服饰艺术中独树一帜而令人耳目一新。 仅康

巴地区的妇女服饰、在民间就有一首古老的民歌这样传唱赞美：

我虽不是昌都人，昌都装饰我知道，昌都装饰要我讲，铜带环

腰口琴吊；

我虽不是贡觉人，贡觉装饰我知道，贡觉装饰要我讲，项殊三

串胸前抛；

我虽不是德格人，德格装饰我知道，德格装饰要我讲，头顶明

珠金莲抱；

我虽不是霍柯人，霍柯装饰我知道，霍柯装饰要我讲，红绿带

几绕满腰；

我是不是达多人，达多装饰我知道，达多装饰要我讲，红绳扎

发围头绕；

我虽不是理塘人，理塘装饰我知道，理塘装饰要我讲，发系银

盘叮当闹；

我至不是巴塘人，巴塘装饰我知道，巴塘装饰要我讲，银丝缠

发额前飘；

我虽不是盐井人，盐井装饰我知道，盐井装饰要我讲，头包风

帕腰悬刀；

我至不是昌台人，昌台装饰我知道，昌台装饰要我讲，巴戈盘

发宝光耀。

康巴女装其显著标志是前额顶佩戴由银和青铜铸造并镀以金，

中间镶嵌红珊瑚的“梅朵”头饰，即花朵纹样装饰。相传此佩饰为格

萨尔王妃珠牡所佩戴。头发编成若干粗细不同的小辫，上面饰以松

耳石和珊瑚；鬓角两边的头发上穿有松耳石或猫眼珠，辫子末端也

穿以两股松耳石或银饰，藏袍和男子大体相似，显得华贵大方，婀

娜多姿。康巴特有着装，质地厚实，色彩简洁，款式新韵独特，具

有自然、质朴、厚重的视觉效果而别具一格。

3. 保护康巴族服饰之建议

藏族人民始终怀着敬重，虔诚的心情将大自然视为自己的家园，

他们与大自然一体的生态观正是我们所要寻找的东西，正是他那种

散发出的拙朴，平和，诚实和豁达的自然情调也是他独特的文化魅

力。随着全球一体化的进程以及服饰的不断弃旧迎新的特性，服饰

本身的保存困难、民族服饰持有者没有认识到其重要性等多方面原

因，服饰文物近年来流失损毁速度相当惊人；有关方面目前对民族

服饰重视力度不够，研究条件较差，资金缺口较大，相关法律政策

尚未出台，大量服饰文物精品被外国人士搜集并带出国境，是我民

族文化艺术宝库的巨大损失。人的生活不仅要有一定的物质基础，

更离不开相应的人文精神，藏族非物质文化遗产植根于特定的自然

和人文环境中，与当地民众有着天然的历史、文化和情感联系。地

震之后藏族民众心灵的安抚需要与他们伴随了千年的非物质文化遗

产同行，同时，灾后藏族非物质文化遗产的抢救保护也是尊重文化

遗产与藏族民众的情感联系、鼓舞他们重建家园信心的重要举措。

我们所进行的是藏族服饰文化的遗产研究与保护的探索，并对传统

的生活方式等地方性知识加以考察，通过挖掘传统文化中的营养来

解决当前震后保护问题。

藏族人民始终怀着敬重，虔诚的心情将大自然视为自己的家园，

他们与大自然一体的生态观正是我们所要寻找的东西，将这种民族

精神弘扬，传承必须要要到很好的载体；那么说旅游是文化的载体，

文化是旅游的灵魂；能保护一个民族文化的多样性，必须提供资金

和广阔的发展平台。青海应充分发挥省内文化资源优势，以文化特

色包装，将康巴地区的服饰文化的发展使之融入到旅游项目的开发

之中打造国内外旅游名牌，才能使经济得到发展的同时让民族文化

得到传承和发扬。

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