天鹅绒的历史 History of velvet

天鹅绒的起源可追溯到西汉镜衣，在元代著名的"丝绵里"剪绒的基础上发展起来的，

清 织金地凤穿花纹漳绒椅披

清 织金地凤穿花纹漳绒椅披

到明代大量生产，并销往日本、葡萄牙、荷兰、新加坡等地，尤受日本人喜爱。天鹅绒逐渐从"织素"发展为"起花"、"割花"。且渐趋完美。《福建通志》所形容:明代天鹅绒"机制云蒸，殆夺天工"。明代的绒织品经纬都是蚕丝。漳绒自明代传到南京江宁织造府后，经加工创新，发展成南京独有的雕花天鹅绒，在文人士大夫中风行无匹，一时间"金陵绒贵"，达官贵人无不攀比，以身穿雕花天鹅绒为荣。 明代两件重要的天鹅绒实物分别是苏州王锡爵墓出土的天鹅绒冠和北京明定陵出土的双面天鹅绒四合如意绣龙补女衣、蓝色单面天鹅绒女衣。

清初，织天鹅绒者分布漳州东门外一带，有商人包泳设铺专营。清中叶，上自皇帝、士大夫，下至地方仕绅都用天鹅绒，并定作贡品。制品有龙袍、宫衣、马褂、帐楣、桌巾等。当时，曾妲为织绒好手。传世文物有清景陵天鹅绒鎏金朝冠、清晚期蓝色漳绒团八宝大襟马褂、清光绪紫色漳绒福寿三多纹袷坎肩、漳绒山水图轴、漳绒沈铨绘孔雀图轴、五蝠捧寿雕花漳绒。

太平天国起义，天鹅绒名师艺工纷纷避乱江浙。 清末，政府腐败，漳州的桑林被砍伐开荒，丝料日趋紧缺，老艺人相继亡故，天鹅绒渐趋衰微。仅余睐仔和曾河二位织绒艺人。南京、杭州等地却因天鹅绒艺人的到来，而获发展。

1929年(民国18年)，漳州为恢复天鹅绒生产，创办工读学校，聘请名艺师王铭传授织造技术，但宏愿未成，王铭亡故。抗日战争初期，有高开口、王溪文、王玉成等人在漳州花园后组织10人传艺，欲以恢复生产。但质量、风格均较过去为差，销路、成本都受到杭州、南京等地产品的冲击，仅3个月就停产。 据1952年调查，天鹅绒艺人(包括龙溪步尾、六石等乡)总共不上10人，都已改业，且年龄均在60岁以上，工具也已散失，难以恢复生产。后有关部门派漳州丝纱厂两名干部深入龙溪专区各县专访，获悉南京尚有人会织天鹅绒。1958年，由漳州丝纱厂派人前往南京、杭州、苏州学习，进行专业培训，南京为漳州送来了机器。于是漳州的"天鹅绒"重获生机。1961年3月，丝纱厂用天鹅绒"起花"工艺把董必武为纪念闽南革命题词"君子所履--毛泽东同志所走的路是指引中国革命胜利的路"，织成长170厘米，宽70厘米，浅黄褐色底，黑色绒面的字，是有天鹅绒以来所未见。后因资金和其他

五蝠捧寿雕花漳绒

五蝠捧寿雕花漳绒

原因而停产。截至2009年，漳州只有一个街道办的工厂生产天鹅绒。

1994年，丹阳女工景云将原丹阳漳绒丝织厂天鹅绒车间买下来，悉心钻研天鹅绒，并遍访名师，最终从苏州一位周师傅那里学到了南京天鹅绒手工织造全套技艺，且加以创新。1999年年底，丹阳漳绒丝织厂的戴春明造出第一匹机械织造天鹅绒产品，完成了半机械织造天鹅绒，且质量稳定，光泽好，被国家授予"实用新型专利证书"。 从此漳绒织造由手工转变成半机械织造，由小试到中试到大批量投产，以前两个人一天只能织0.8米，现在一台机一天织4米，产量由原来年产不足2000米提高到近二十万米，满足了市场对高档服饰面料的需求。 2003年非物质文化遗产项目天鹅绒织造技艺省级代表性传承人殷志聪主持了雕花天鹅绒恢复生产工作，培养了雕花天鹅绒艺徒，收集整理了一批传统作品和生产工具，恢复了全套雕花天鹅绒生产工艺。 戴春明的女儿戴玲，成功复制了清朝初年的一件雕花天鹅绒椅披，并在今年举办的2013年中国工艺美术精品博览会和江苏省工艺美术精品大奖赛中分获金奖和银奖。[1] 2007年3月26日，由丹阳市申报的天鹅绒织造技艺继被镇江市人民政府公布为镇江市非物质文化遗产后，2008年11月又被江苏省政府公布为江苏省首批非物质文化遗产。

The origin of velvet can be traced back to the mirror clothing of the Western Han Dynasty, which was developed on the basis of the famous "Silky wool" cutting in the Yuan Dynasty.

Qing weaving gold land phoenix wear pattern Zhangvelour chair cloak

Qing weaving gold land phoenix wear pattern Zhangvelour chair cloak

To the Ming Dynasty mass production, and sold to Japan, Portugal, the Netherlands, Singapore and other places, especially favored by the Japanese. Velvet gradually developed from "texture" to "initiation" and "cutting". And it's getting perfect. "General Annals of Fujian" described: the Ming Dynasty velvet "mechanism of cloud steaming, almost seize the natural work". The warp and weft of the Ming Dynasty's woolen fabrics are all silk. After being introduced to Jiangning Weaving House in Nanjing in the Ming Dynasty, Zhangjiang Velvet developed into a unique carved velvet in Nanjing after processing and innovation. It was very popular among literators and officials. For a time, "Jinling velvet was very expensive", and all dignites were proud of wearing carved velvet. Two important velvet objects of the Ming Dynasty are the velvet crown unearthed from the tomb of Wang Xijou in Suzhou and the double-sided velvet embroidered dragon Bubu dress and the blue one-sided velvet dress unearthed from the Ming Dingling Tomb in Beijing.

In the early Qing Dynasty, velvet weaver distributed in Zhangzhou east Gate area, there are businessmen chartered shops franchise. In the middle of Qing Dynasty, velvet was used from the emperor, scholastic officials and local gentry. The products include dragon robes, palace clothes, mandarin coats, lintel, doilies, etc. At that time, Zenda was a good weaver of velvet. The handed down cultural relics include the gilt velvet crown of Jingling Tomb of the Qing Dynasty, the blue Zhangrong group of eight treasures with big flapstick jacket of the late Qing Dynasty, the purple Zhangrong for blessing and longevity, the Zhangrong landscape picture axis, Zhangrong Shen Quan peacock picture axis, five bat holding Shou carved Zhangrong.

The Taiping Heavenly Kingdom uprising, velvet master art workers have fled the chaos in Jiangsu and Zhejiang. In the late Qing Dynasty, the government was corrupt, Zhangzhou mulberry forests were cut down and opened up, silk materials became increasingly scarce, old artists died one after another, and velvet gradually declined. Only Lai Tsai and Zeng He two velvet artists. Nanjing, Hangzhou and other places because of the arrival of velvet artists, and the development.

In 1929 (the 18th year of the Republic of China), Zhangzhou established a work-study school in order to resume velvet production, and hired a famous artist Wang Ming to teach weaving technology. However, Wang Ming died. In the early days of the War of Resistance against Japanese Aggression, Gao Qouang, Wang Xiwen, Wang Yucheng and others organized 10 people to spread art behind Zhangzhou Garden in order to resume production. But the quality, style are worse than in the past, sales, costs are affected by Hangzhou, Nanjing and other local products, only 3 months to stop production. According to a 1952 survey, velvet artists (including Longxi Buwei, Liushi and other townships) numbered less than 10, all of whom were over 60 years old. Their tools had been lost, making it difficult to resume production. After the relevant departments sent Zhangzhou silk and gauze factory two cadres in-depth interviews in Longxi counties, learned that there are people in Nanjing can weave velvet. In 1958, Zhangzhou silk and yarn factory sent people to Nanjing, Hangzhou, Suzhou to study, professional training, Nanjing sent machinery for Zhangzhou. So Zhangzhou's "velvet" revived.  After money and other

Five bats holding Shou carved Zhangvelour

Five bats holding Shou carved Zhangvelour

The reason is to stop production. As of 2009, only one street factory in Zhangzhou produced velvet.

In 1994, Jing Yun, a female worker from Danyang, bought the velvet workshop of the former Danyang Zhangrong Silk Weaving Factory, studied velvet carefully, visited many famous teachers, and finally learned the full set of Nanjing velvet hand-weaving techniques from a master Zhou in Suzhou, and made innovations. At the end of 1999, Dai Chunming from Danyang Zhangrong Silk Weaving Factory produced the first mechanical velvet product, and completed the semi-mechanical velvet weaving, with stable quality and good luster, which was awarded the "utility model patent certificate" by the state. From then on, the Zhangzhou wool weaving changed from manual to semi-mechanical weaving, from small trial to pilot trial to mass production. Before, two people could only weave 0.8 meters a day, now a machine can weave 4 meters a day, the output increased from the original annual output of less than 2000 meters to nearly 200,000 meters, to meet the market demand for high-grade clothing fabrics. In 2003, Yin Zhicong, the provincial representative inheritor of the velvet weaving technique of the intangible cultural heritage project, presided over the restoration of the production of carved velvet, trained carved velvet artisans, collected and sorted out a number of traditional works and production tools, and restored the full set of carved velvet production techniques. Dai Chunming's daughter, Dai Ling, successfully copied a carved velvet chair mantle from the early Qing Dynasty and won the gold and silver awards at the 2013 China Arts and Crafts Fair and the Jiangsu Arts and Crafts Grand Prix held this year. [1] On March 26, 2007, velvet weaving technique declared by Danyang City was declared as the intangible cultural heritage of Zhenjiang City by Zhenjiang Municipal People's Government, and in November 2008, it was declared as the first batch of intangible cultural heritage of Jiangsu Province by Jiangsu Provincial government.