In response to the theme of “Museum and Cultural Landscape†of “International Museum Dayâ€, Shanghai Textile Museum and National Cultural Palace Museum jointly organized the “Colorful China - Chinese Ethnic Minorities Weaving, Dyeing, and Embroidery Culture Exhibition†opened at the Shanghai Textile Museum.
The exhibition is mainly divided into three units : “Weaving weft knittingâ€, “Dyeing printingâ€, and “Thorn-stitching and transporting needlesâ€. A total of 164 pieces (sets) of ethnic minorities are dyed and embroidered, including more than 30 minorities. National non-heritage projects of traditional fine arts and techniques (all included in the national intangible cultural heritage list, etc.). These devoted a life of wisdom handmade products, always integrated into a simple craftsmen ingenuity, enthusiasm reflects the culture and life of a nation, its value is not a standard to measure the business community. However, their current difficulties are also worrying. For instance, the Li traditional spinning and weaving techniques have been included in UNESCO's List of Intangible Cultural Heritage in Urgent Needs to Protect. How to inherit and develop this handicraft technique for thousands of years is a question worthy of our consideration .
In the long-term production practice, ethnic minorities in China have accumulated rich experience in weaving and dyeing techniques. Influenced by factors such as geographical environment, religious beliefs, history and culture, traditional customs and other factors, the weaving, dyeing, and embroidery of ethnic minorities are highly characteristic and expressive, regardless of their production techniques, color processing, or the composition of patterns and symbols. The brocades of Zhuang, Yi, Dai, and other ethnic minorities were well-known in the Tang Dynasty. In northern China, where ethnic minorities are more livestock, animal husbandry, such as cotton and linen, felting, and wool knitting, are often based on local conditions, and are either exquisite or exquisite, or bold and unrestrained; weaving, dyeing, and embroidery processes are cumbersome and labor-intensive, and the tools used are as follows: Spindles, spinning wheels, rakes, looms, etc. are still more simple, and they are hand-made using local materials. The warp and weft threads are interlaced and shuttled together. The dyeing and printing features are beautifully embroidered and painted with needles and ghosts.
The cultivation process of craftsmanship is long and requires patience. It exists in the succession of generations from generation to generation. It requires culture, time, and emotional integration. In the era of rapid development of high-tech and industrialization, the tedious and intricate processes that are intricate and intricate are incompatible with the needs of large-scale production. They are drifting away from our lives. The Shanghai Textile Museum hopes that through such exhibitions, the whole society can pay more attention to these intangible cultural heritages of ethnic minorities, re-appreciate the tenderness and warmth of Chinese ancient handicrafts, and pursue the return of national culture.
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