Chinese Textile Description - Research Paper Example

 Chinese Textil Introduction China is one of the fastest growing countries with a large production turnover. The large turnover is not limited to labor and agriculture only, but is extended to the textile industry. The knowledge of textile, patterns and various motifs date as far as the Neolithic Age1. This early motivation to engage in the textile industry was born from the fact that China is very rich in silk. Lei Zu who was the wife of the Yellow Emperor is credited with the discovery of making textiles using silk. However, history shows that discovery of other textile techniques using other materials other than silk dated way before her reign. The discovery of use of silk in textile is what awarded China its recognition in the textile industry. The patterns in Chinese textile are based on their culture. Various symbols signifying the environment are used to give certain messages. Different colors are also used to signify various emotions. Globally, china is recognized as the first country to engage in textile industry. Currently, the industry has expanded enormously with the Chinese clothes being worn beyond China. Civilization has led to the incorporation of various designs and textile designs which has ensured a place in the global market. Traditional Chinese Textiles and Motifs Pictures showing various symbols found on emperors’ robes Traditionally, Chinese textile was decorated using symbols that had meaning in their lives. Some symbols are based on religious and cultural practices. In the Chinese culture, they are twelve main symbols that have been incorporated into the textile industry. The number and type of symbols are indicative of the social status, moral standing and cultural heritage of the wearer. The emperors’ robes were decorated with twelve symbols that symbolized their character. The symbols of the sun, the moon, and the constellation were used to show the light and the wisdom of the wearer. Thus, the appearance of the above three symbols on the robe of a man showed that he was a leader (for example, an emperor). Symbols of mountains on robe are used to symbolize the leadership power of the leader. The symbol of a dragon on a leader’s robe indicates that he can adapt to different situations and make laws that are favorable to his people depending on the situation. Depending on the rank that the leader held, there would be a definitive number of the dragon symbols indicating their power. Flowery creatures and a sacrificial vessel indicate the prowess of the emperor in education and their ability to pacify any rebellion. Water plant symbols that were sewn on the hem of the robes represent the innocence and purity of the leader. The fames and grain symbols are symbolic of power and wealth respectively. The ax head and the fu symbolize the ability of a leader to make decisions in hard situations and their ability to tell evil from good. A combination of a few of the above symbols was used to indicate the rank of an officer. The robes of the emperors were adorned with all the symbols which signify that they had also the qualities required to be a leader. There were other signs used to decorate clothes that were not exclusive to emperors and officers. For example, a crane was symbolic of a person who had gained their position through education. A religious symbol the swastika indicated luck and a long life2. Cultural Practice in China Various techniques were used to make textile in the earlier days. The textile techniques include spinning, weaving, dyeing, and embroidery3. All these practices were the responsibility of women. Thus, it was the duty of the mothers and to teach their girl children how to make the clothes. The various patterns woven or dyed into the clothes were used to express the identity of that particular woman. This is because the patterns and motifs were derived from their understanding of nature, traditions, and their own imagination4. The combination of textile techniques depended on the individual, the type of fabric, and the natural resources available. The most common materials used in cloth making are silk and cotton. However, with increasing civilization and technology other types of fabrics have been made which increases the diversity of the industry5. The textile was also extended to the weaving of looms using bamboo sticks. Embroidery was also a cultural heritage. Embroidery techniques are also as versatile as weaving techniques due to the different methods of stitching. Li Minority Textile Techniques Pictures showing various textile techniques Dyeing was carried out by using naturally occurring dyes made from plants, animals and minerals6. Weaving was done by use of looms which were made from bamboo sticks. Spinning was at first limited to silk. With the introduction of cotton, the Li women started weaving and spinning it and this led to the growth of cotton and its use in textile industry in addition to silk7. Silk was expensive and was limited to the rich and thus, the use of cotton quickly gained popularity among members of lower social classes. Traditional embroidery was comprised of single sided and double sided stitching. Different embroidery patterns were made by a combination of colors, patterns, and different stitches. Chinese Textile Brocades Picture showing Suzhou brocade Picture showing tapestry brocade The Sichuan brocade originated in Chengdu in Sichuan province. It started in the Han Dynasty and lasted up to the Three Kingdom Period. The brocade is based on a horizontally colored line with bundle flower, red lion, and phoenix linings being characteristic. The cloud brocade and is made using high quality ilk and exemporary techniques. It is dated back to the Qing dynasty. The Suzhou brocade originated in the Jiangsu province and is comprised of small and large brocade. The heavy brocade is used to mount decorative pictures and the small brocade for decorating small articles. Bundles of flowers and flowers on twigs are used to make the patterns which are arranged in harmony thus, complimenting each other. The Zhang down is a type of silk-knit brocade and originated in Zhengzhou in the Fujian province. It comprises of patterned and unpatterned downs. The unpatterned down is covered with down circles while the patterned down is cut following the lines without severing the circles. Finally, the tapestry brocade involved interweaving horizontal and vertical threads8. Chinese Textile Industry Currently Picture showing non-woven fabric The Chinese textile industry has continued to expand. The market for Chinese fabrics and their clothes has spread to many parts of the world. This has given many people a chance to appreciate Chinese culture through the clothes. In the market today, the non-woven products command a large share of the market compared to other textile techniques. This has given rise to the fear that with time, the traditional Chinese textiles will fade away (such as Li techniques)9. The government is making an effort to keep its tradition active. This has been achieved by integrating their tradition with the current technology. For example, more colors are being mixed and used for dying to give even a more colorful look and vibrant feel. Some techniques such as knitting have been improved through warping and three dimensional braiding. This has allowed China to not only produce clothes for wearing, but also the production of special fabrics for use in different fields such as medicine. The traditional textile industry has expanded to give rise to a mass producing textile industry. Traditional textile still in play includes folk textile, spinning, weaving techniques, and looms. Traditionally made cotton prints which are hand made by the rural women of Mount Yemen still command market attention globally. Challenges facing the Chinese Textile Industry The non-woven textile industry, which commands a large share in the global market is faced by a poor linkage between demand and the supply10. The suppliers lack final products and thus penetrating the final products market has proved to be challenging. This threatens their capability of expanding and this is evidenced by the fact that manufacturers are not united and instead practice small businesses which are scattered. The exporting market is restricted as China does not produce high quality end products. The textile industry in the early days was limited to the middle and low income people in China and eventually spread to the rich. Conclusion China is one of the largest country producing fabrics for clothing and also for other fields. In the earlier days, the textile industry was exclusive to women. The practice was passed down from mothers to their daughters. The techniques used include weaving, dyeing, knitting, and spinning. Silk was the commonly used material, but due to its high cost, the people started using cotton. Currently, the industry has grown to include textiles in various fields. However, this expansion is threatened by lack of enough supply, high quality products, and limited supply of end products. Bibliography Top of Form Chinaculture.org. Traditional Chinese Textiles and Motifs. Ministry of Culture, 2014. http://www.chinaculture.org/gb/en_chinaway/2006-09/13/content_85596.htm Chuanxiong Zhang and Pan Wei. Industrial Textiles in China: Specialty Fabrics Review. 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Lincoln: University of Nebraska, 2010. http://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1063&context=tsaconf&sei-redir=1&referer=http%3A%2F%2Fwww.google.com%2Furl%3Fsa%3Dt%26rct%3Dj%26q%3Dtextile%2520in%2520the%2520chinese%2520culture%26source%3Dweb%26cd%3D7%26cad%3Drja%26uact%3D8%26ved%3D0CFIQFjAG%26url%3Dhttp%253A%252F%252Fdigitalcommons.unl.edu%252Fcgi%252Fviewcontent.cgi%253Farticle%253D1063%2526context%253Dtsaconf%26ei%3Dd0cwU47tNqu47Qas9ICwBg%26usg%3DAFQjCNGTzZnIIcHPT7YCI8A-Ea2m3augJA%26sig2%3DQJbGQqhruqDM2-4qFvzpPw%26bvm%3Dbv.62922401%2Cd.bGE#search=%22textile%20chinese%20culture%22 Luise Guest. Material Practices: Stitching, Fabric, and Textiles in the Work of Contemporary Chinese Artists. Dailyserving.com, 2014. http://dailyserving.com/2014/01/material-practices-stitching-fabric-and-textiles-in-the-work-of-contemporary-chinese-artists/ Macro Biselli. China’s Role in the Global Textile Industry. 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