Chinese Traditional Folk Printing and Dyeing: The Combination of Tradition and Contemporary

Business Club July 11th News Chinese traditional folk printing and dyeing is a wonderful work of Chinese folk art and enjoys a good reputation in the world. With the process of economic globalization, it has shown a decline in style. Nantong's tie-dye and blue print cloths have risen suddenly and have taken the lead in the country in terms of protection, inheritance, and development.

Nantong Tie Dyeing Industrial Development Road China National Coordination Research Group On May 31, Luo Yang went to Nantong Hai'an County, a “township of modern tie-dye”, and talked with Hai An Jinhua Garments Co., Ltd. and tie-dye master Jiao Baolin. Fang Cheng/Photograph In late May, China National Association for Taxation (CAC) affiliates and Party vice-president Luo Yang went to Hai'an County of Nantong City to conduct research on the “Nantong Tie Dyeing” industry. Tie Dye has a long history in China. It began in the Qin and Han dynasties, flourished in the Wei, Jin and Southern and Northern Dynasties and flourished in the Tang Dynasty. By the time of the ** era, "tie-dyeing" has become very common. With the development of the times, the traditional "tie-dyeing" skills gradually disappeared. By the middle of the 1970s, Nantong Dyeing Factory and Hai'an Zha Dyeing Factory had been established one after another, and they were gradually expanded to expand the scale of production. There were more than 200 processing points and 60,000 processing teams. It took 90% of the Japanese tie-dye kimono market in less than five years. It also expanded to Europe, the United States, Southeast Asian countries and Hong Kong, Macao and Taiwan regions. The Ministry of Commerce granted Nantong and Hai'an two factories as "export earning bases".

In order to adapt to the market, “Nantong Tie Dye” has inherited traditional culture and craftsmanship, and at the same time, it has developed the extension field of modern tie-dyeing. The level of craftsmanship has been further improved. New apparel products, home textiles, tourism products, appreciation products and other products have occupied the country. The tourism market has enabled the domestic and foreign markets to go hand in hand. "Nantong Tie Dyeing" has become a brand of Jiangsu Arts and Crafts with its large-scale, industrialized development and the multi-cultural characteristics of its products.

Productive inheritance allows ancient crafts on the verge of extinction to be re-invented. Hai’an is located in the Jianghai Plain. During the slack season, the majority of women have a long history of being engaged in sideline production, especially in the fields of net industry, hooking clothing, embroidery and blue calico. In the face of the booming tie-dye market, folk artists and Jiaofeng Lin, the winner of the Chinese Folk Literature and Art Mountain Flower Award, quickly popularized the processing of tie-dye production based on the domestic production team and “network” of the “Meile” brand crochet clothing company. The whole county, and quickly expanded to Yangzhou, Xuzhou and even Anhui, Henan, Shandong, Zhejiang and other regions, took only 10 years to occupy the Japanese market that South Korea used for 50 years to enter, for the country to create profits and taxes more than 20 million yuan, exports Earn more than 20 million U.S. dollars.

The historical cause of the development of the Nantong tie-dye industry The rise of Nantong tie-dye coincides with the occasion of China’s reform and opening up. It is a road to industrial development. Nantong’s folk artists rely on foresight to seize opportunities, open their doors, and import and export. The department worked closely together to undertake this historic development. Nantong Tie Dyeing Factory and Hai'an Zha Dyeing Factory, with the support of the local government, quickly established and improved production processes, equipped with management personnel and production backbones at all levels, improved various management systems, built new factories, reconstructed old factories, and trained the processing team. After the rectification, the two factories have an area of ​​12,000 square meters, nearly 1,000 workers, more than 100 processing sites, 40,000 processing teams, and 1.5 million pieces of Japanese tie-dye products exported each year, covering more than 90% of the products. Japanese tie dye kimono market.

The cultural characteristics are the essence of Nantong Zharan. In addition to the inheritance of techniques, such as the use of points, lines, and surface principles, the dots, lines, and faces are interspersed with each other, and the shapes and sizes are interspersed with each other, resulting in ever-changing contrasts. Pattern pattern. From ancient times to the present, the basic units of tie-dye products are all “piplets,” and in ancient China they were called “caviar twisters”.

Tie dyeing is an ancient art from the people. It is deeply rooted in the folk soil and is a kind of arts and crafts that makes full use of natural materials and is mainly handmade. Since its birth, tie-dye has been based on practicality. However, taking cultural connotations as the basis of product characteristics, it has left the attributes of folk art and craftsmanship, and tie-dye will lose its space and presence in market development. value.

Going with the times is the only way for tie-and-dye development. With the development of society, tie-dye, an ancient art, continues to burst into new fashion. Since the day of the rejuvenation, Nantong Zharan has extensively absorbed advanced and advanced technologies from home and abroad. Among them, Japan has a greater impact on Nantong's tie-dyeing. The famous master craftsman of Japan's Mitsui's life praised the designers of Nantong Tie Ding. Their product techniques absorbed the rich nutrition of Miyake. For more than 30 years, the Nantong Tie Dye CEOs have studied and studied the Japanese market with few, many more than a few dozen, and they all admire the development thinking, design philosophy, management and rigorous style of Japanese tie-dye industry peers. At the very least, they have also been influenced by the Japanese side to change their mode of behavior.

The development model of the Nantong tie-dyeing industry concluded that the industrialization of Nantong tie-dyeing was actually the formation of a socially recognized scale and reached the goal of advocating quality. In more than ten years, Nantong Tie Dyed has exported more than 10 million pieces of tie-dye products from Shanghai, Nantong and other ports to Japan and other national-level regions, with an output value of 550 million yuan and a foreign exchange of 150 million U.S. dollars. Received the National Prize for Foreign Exchange Earnings. With the reform of the enterprise system, a batch of private enterprises, industrial and trading cooperative enterprises, Sino-foreign joint ventures and group companies have been spawned, among which are “Jinhua”, “Three Friends”, “Huayi”, “Jin Sang” and “Lanxi”. The scale, technical strength, and development capability of companies such as "Yinfan" and "Yilong" are the most representative. They quickly extended their external processing channels to Anhui, Shandong, Henan, Shaanxi, Shanxi and Hubei.

After the above inspections, the following conclusions and reflections were made:

I. Productive protection is an effective way of inheriting and protecting intangible cultural heritage. The inheritance law of intangibles lies in its constancy, first of all—the heritage is the cultural form formed after the accumulation of the times, followed by the living rheology—the cultural heritage is also developing and evolving.

Second, folk arts have made the non-heritage return to human contemporary social life through production. The brand has a great impetus for non-genetic inheritance, contributes to the product market, and contributes to the level of contemporary traditional craftsmanship.

Third, the production protection of folk art must be supported by the government. Governments at all levels should further study and intensify policies to promote the production protection of folk arts, as well as related measures such as inheritance of production and tax relief.

Fourth, culture is the soul of the cultural industry. The development of the non-governmental cultural industry must take the promotion of traditional culture as its mission, use traditional craftsmanship as a means, and strengthen the strength of folk culture as its goal, so that the folk arts and social development can achieve economic benefits while achieving greater social effects.

Nantong Zharan created a new era in the development of folk art and achieved world-renowned achievements. However, the inheritance and sustainable development of Nantong tie-dye also face new issues. Nantong's tie-dyeing industrial development road has greatly improved the reputation and influence of tie-dyeing, and the unique charm of tie-dye has been reflected in its commercial value. (Chen Shengkai writes)

Inheritance and Protection of Nantong Blue Calico The Chinese National Coordination Research Group Blue Calico is a bright and exotic flower of the Chinese people. It has experienced vicissitudes, almost withered. Today, we approached her again and saw a refreshing picture after the storm.

The blue-and-pink flowers pass through the ages to present a better view of Nantong's Lancang River, and the soil and climate are suitable for growing cotton. The blue calico originated from the Jiangnan area and was introduced into Nantong during the Ming and Qing Dynasties. Nantong area in the Ming Dynasty has been produced in indigo. The widespread cultivation of bluegrass provides a rich source of dye for dyeing blue prints. The blue calico, as a daily necessities and the agricultural culture of Nantong, has gone through hundreds of years of brilliant history.

Before the founding of the People's Republic of China, most of the Ming and Qing Dynasties throughout the country were affected by foreign fabrics, and due to the special geographical location of Nantong, blue-printed cloth workshops continued until after the liberation. The small blue-and-white cloth dyeing houses and printing and dyeing cooperatives that were rooted in Nantong were scattered throughout the counties and villages in Nantong. . Since the reform and opening up, foreign trade has led the new development of the blue printing industry. Rushi's Shizhuang, Tongzhou's Meiji and Shigang, Haimen's Sanyang and Qidong's Huilong have all made efforts for the development of blue calico. Since the 1970s, the Nantong Arts and Crafts Research Institute, Handicraft Printing and Dyeing Factory, and Tourism Crafts Research Institute have done a lot of research and development work to develop folk arts inheriting blue calico.

In the early 1980s, the Nantong branch of the Chinese Folk Literature and Art Association conducted a systematic study of the blue calico in Nantong, and published the “Nantong Blue Printed Pattern”. Under the care of all levels of government, China’s arts and crafts masters, the inheritor of state-level intangible cultural heritage, and Wu Xingxin, deputy director of the China Association of People’s Republic of China, founded China’s first collection, display, research, production, and operation in 1996. Blue Calico Museum, the traditional craft of Nantong blue calico can be further excavated and promoted. In 2002, the Nantong municipal government also invested in the establishment of a new museum of the Blue Calico Museum, which contains a large collection of blue calico and related traditional printing and dyeing collections since the Ming and Qing dynasties.

Since its inception, the new museum has consistently adhered to the promotion of folk art and inherited traditional craftsmanship. It has exhibited more than 30 times at home and abroad and has received more than 500,000 Chinese and foreign guests. In addition, we will continue to develop new products on the basis of inheriting traditional folk arts, focusing on the promotion and protection of civil non-material cultural heritage, and on research and heritage of folk crafts as our own responsibility. Put into the collection, excavation, development and promotion of blue calico. Nantong Blue Calico Museum has created the “Blue Art” brand in its productive protection. It combines traditional blue calico craftsmanship with modern life and created a series of new blue calico fabrics. At the same time, blue print cloth has also participated in the national folk arts and crafts exhibition for many times, and has won the highest prize of folk crafts for many times - the Chinese folk art mountain flower award.

In 2006, Nantong was awarded the "Hometown of Chinese Blue Calico Fabrics" by the Chinese Association of Folk Writers and Writers. The Nantong Blue Calico printing and dyeing technique was included in the first "National Intangible Cultural Heritage" directory, and the development of Nantong Blue Cloth ushered in. An unprecedented period.

The exquisite pieces are all invincible and linger. Nantong Blue Calico Museum is located in the beautiful Luohe Scenic Area. There are 5 exhibition halls in the museum. The first exhibition hall is the origin and development; the second exhibition hall is the old boutique; the third exhibition hall is the craft. Processes; Exhibition Hall 4 is outward-looking; Hall 5 is innovation and development. The combination of movement and static shows the profound historical and cultural heritage of ancient and modern blue calico. It provides a good place for enthusiasts and college students at home and abroad to appreciate, study and research folk arts and crafts. It is the most distinctive Nantong tourism. Attractions and folk arts and crafts production and education base.

The Nantong Blue Calico Museum did its utmost to promote and inherit the folk traditional blue calico, collected material and patterns from the Ming and Qing Dynasties, preserved a large number of outstanding folk products, and published the “China Blue Printed Patterns Collection” and “Blue Calico”. The soul of squeegee printing and dyeing - Chinese blue print cloth "Chinese traditional folk printing and dyeing techniques" and other books.

The Blue Calico Museum creates its own brand and continues to develop new products while striving to preserve traditional craftsmanship. At present, there are six series of tablecloths, wall hangings, packaging, handicrafts, shoes and hats, and clothing, which cover more than 1,000 varieties and meet the needs of modern family life. Feng Licai, deputy director of the China Federation of Literary and Art Fellowships and the Chinese Folk Literature and Artists Association, praised the museum's “Blue Art” brand for its leadership in protecting and inheriting the heritage of dyeing and weaving. It was pleased to address the issue: , Look at the Blue Flower Pavilion."

The floret also needs to protect the flower buds. The Nantong blue calico is the “living fossil” of the Chinese agricultural era. It represents the folk customs, folk customs, and people’s sentiments of the Jianghai Plain in a “live” manner. Its production techniques, patterns, patterns, and Patterns, with a high historical value, cultural value, scientific value and use value.

In view of the blue print cloth museum's long-standing contribution in protecting, rescuing, innovating, inheriting, and developing blue print cloth traditional art, in 2006, Wu Yuanxin was awarded the “7th China Folk Literature and Art Mountain Flower Award” by China Federation of Literature and Literature and Chinese Folk Literature and Artists Association. · Individual Achievement Award; in December of the same year, Wu Yuanxin won the honorary title of “Chinese Master of Arts and Crafts” awarded by the National Development and Reform Commission and became the first “national master” in the traditional printing and dyeing industry since the founding of the People’s Republic of China; in June 2007, Wu Yuanxin was awarded the China Federation of Literary and Art Circles, The Chinese People's Association of China awarded the “Outstanding Inheritance of Chinese Folk Culture” and was awarded “The Representative Inheritor of National Intangible Cultural Heritage” by the Ministry of Culture. In June 2011, the Ministry of Civil Affairs, Human Resources, and the Ministry of Justice, China Wen Lian awarded "The 3rd National Young Artists of the Arts and Arts of Shuangxing".

In the past ten years since its opening, the Nantong Blue Calico Museum has been at the forefront of the rescue and inheritance of blue calico. It has protected a large number of ancient blue prints that are on the verge of disappearing, totaling more than 12,600 pieces, more than 100,000 pieces. The patterns were collected from more than 1,500 ancient blue prints, contributing to the inheritance of traditional blue print techniques and the promotion of traditional folk printing and dyeing culture.

In order to rescue and protect the blue print art and let the blue print cloth regain its former glory, Wu Yuanxin called for 30 years, ran for 30 years, struggled for 30 years, and gave it all to create China’s first private blue print museum. Restored the Ming and Qing Dynasties, opened a research and production center, a station sales center, and also compiled a "China Blue Printed Pattern", collected and collected the blue print patterns collected and created by him for 30 years. Experts and scholars have provided rich materials for studying blue calico. He is a collector and researcher of blue calico, a successor to the traditional blue calico craftsmanship and deserves to be a loyal watcher of blue art.