Research on the Craft Culture of Chinese Ethnic Clothing (Complete Four Volumes)

Author: He Chen
Publisher:
Publish Date: 2006-06-01
Features: This series explores the craft culture of the Miao and Dong ethnic groups. The choice of this research theme is primarily based on the following considerations: First, the Miao and Dong ethnic groups are highly artistic and possess unique insight and outstanding creativity. Their embroidery, batik, and brocade are considered treasures of southern Chinese ethnic cultural arts, showcasing exceptional craftsmanship and innate talent. What is even more remarkable is that, in today's world where many ethnic cultures are on the verge of extinction, this perfect ethnic cultural art still thrives in some Miao and Dong villages, passed down through generations. The diligent women of the Miao and Dong ethnic groups, through their cultural awareness, have created a rich cultural heritage. Second, both the Miao and Dong ethnic groups are highly representative southern ethnic groups with a long and developed agricultural culture. Along the fertile shores of Dongting Lake and Poyang Lake, the ancestors of the Miao people once created a glorious agricultural civilization, a legacy that continues to influence the Miao people who have inhabited the Guizhou Plateau for over ten centuries, guiding their lives there. The Dong people primarily reside in the areas where Hunan, Guizhou, and Guangxi provinces meet—such as Tongdao, Liping, Sanjiang, and Rongshui—where they are the original inhabitants and main pioneers. With "ten miles of Dong villages and a hundred miles of Dong homeland," every village is built along rivers, and every village is crisscrossed by streams, with fertile land and a mild climate, allowing their rice culture to flourish rapidly. The exquisite batik and embroidery arts of the Miao and Dong ethnic groups can only be explained by their profound understanding of weaving, embroidery, and dyeing, which stems from their highly developed agricultural civilization. It can be said that the exquisite and prosperous clothing art of the Miao and Dong ethnic groups is unparalleled by other ethnic groups. Third, as the primary carriers of Miao and Dong culture, the craft of Miao and Dong clothing is rich in cultural connotations, reflecting their reflections on ethnic origins and deep reverence for ancestors. Every ancient ethnic group has pondered the origins of life, but the Miao and Dong ethnic groups have their own unique understanding of the formation of heaven, earth, and all things, as well as the origins of humanity, which is vividly reflected in their clothing craft culture. For example, the sacred chaotic flower in the weaving and embroidery patterns of the Dong people in Sanjiang is a totem symbol of the goddess Sa Tianba, the ancestral deity worshipped by the Dong people, representing the symbolism of fertility. The Miao people's "Butterfly Mother" also holds the same meaning, appearing as a life motif in the weaving and embroidery patterns of the Miao people in southeastern Guizhou; in the batik patterns of the Miao people, the Butterfly Mother, together with birds and fish, constructs a realm of all things coming into being, expressing the Miao people's love for life. The Ancestor Worship Festival is a grand festival for the Miao and Dong ethnic groups, as well as a common expression of ethnic cohesion. The "Bird Clothing" in this festival is a specific manifestation of this common form. The exquisite Miao Bird Clothing features bird and dragon motifs, while the Dong Bird Clothing is similar in form but more intricate in weaving and embroidery. Fourth, both the Miao and Dong ethnic groups are ancient peoples with many similarities in cultural backgrounds, as well as mutual cultural influences. In-depth research into their clothing craft culture is beneficial for comparative analysis and understanding their historical and cultural contexts, as well as for the protection and inheritance of their clothing craft techniques. Ethnic clothing craft and its related culture are intangible cultural heritages, primarily comprising two parts: craft techniques, design structures, pattern content, and inheritance methods, both in terms of craft and culture, and they can fully reflect cultural diversity and ethnic characteristics. Therefore, a comprehensive study of ethnic clothing craft should include research on related cultures, which is precisely the content covered by this series. Here, culture is the foundation of inheritance, and without the support of ethnic spirit, craft cannot be sustained. The study of ethnic clothing culture is an emerging discipline that is increasingly gaining attention and recognition from academia. Ethnic clothing craft, as an important part of ethnic clothing culture, has yet to be thoroughly studied, and there is a lack of in-depth academic research. This is something we must acknowledge. The four authors of this series did not major in ethnology or anthropology for their undergraduate studies. He Chen studied fashion design at Xinjiang Polytechnic University, Wang Yan studied Chinese Language and Literature at Beijing Normal University, Su Ling studied polymer material engineering at Beijing Institute of Fashion Technology, and Li Yan studied fashion engineering at the same institution. When they entered the Master's program in ethnic clothing culture at the Ethnic Clothing Museum of Beijing Institute of Fashion Technology, they had almost no background in ethnology and faced an unfamiliar and entirely new field. As their supervisor, I had to consider how to leverage their undergraduate strengths to choose research directions so that they could complete their studies successfully. Coincidentally, I was hosting the Beijing Municipal Science and Technology Commission-funded project "Research on Miao Ethnic Clothing Craft" and the Beijing Municipal Philosophy and Social Sciences Planning Project "Research on Ethnic Clothing Craft Culture." Therefore, I decided to incorporate their theses into my research projects. They each chose topics of interest: He Chen studied Miao batik, Su Ling focused on Dong cloth, comparing it with Miao liang cloth, Wang Yan analyzed Dong weaving and embroidery, and Li Yan explored the structure and wearing methods of Miao women's clothing in southeastern Guizhou. I am pleased to see that they did not disappoint, demonstrating their diligence and intelligence, gradually entering the academic of ethnic clothing culture research. The series presented to the readers is a compilation of their master's theses. Although their research was conducted within the framework of the aforementioned projects, the four authors were not confined by them. They not only focused on specific craft techniques such as weaving, embroidery, and dyeing of the Miao and Dong ethnic groups but also analyzed related cultural customs and explored the reasons for their inheritance and decline. Therefore, their research has certain innovations and developments in content and theoretical methods, undoubtedly further broadening the field of ethnic clothing culture research. All four authors attempted to apply ethnological, anthropological, and artistic theoretical methods, with the main content completed through field research. This in-depth field research method and academic approach not only ensured the completion of their theses but also holds extraordinary significance for rescuing endangered ethnic clothing cultural heritage, especially the clothing craft techniques passed down orally and manually.
To complete the research project "Miao Batik," He Chen conducted field research for nearly two months in Majiang and Huangping counties in southeastern Guizhou, as well as in Qianxi, Zhijin, Liuzhi, and Anshun cities in the west, and Sanbu and Rongjiang counties in the south, gathering a wealth of primary data and visiting all major batik-practicing areas in Guizhou. Based on this solid and thorough field research, He Chen classified Miao batik into comprehensive types according to its style characteristics and regional features, proposing for the first time the "Regional Type Theory of Miao Batik." Using the narrative style of field research records, she objectively and authentically introduced the style, tools, batik methods, dyeing pot recipes, and dyeing techniques of each type, not only comprehensively explaining Miao batik culture but also providing valuable survey materials for future research. During the field research, He Chen conducted detailed and in-depth investigations into Miao batik through participant observation and in-depth interviews. "When appreciating an artwork, we focus on the imagery it presents, thereby feeling the artist's thoughts and creating resonance. But when every woman in an ethnic group can create such works, we cannot help but focus on the emotions of that ethnic group. The Miao people are an emotionally deep and delicate ethnic group, much like their music, which is filled with melancholy and grandeur—such melancholic melodies carry elements of blood and emotion, carrying memories of ancestors and homeland." From this passage in her book, we can see that she has immersed herself in the culture, which allows her to provide accurate and insightful explanations of Miao batik and its culture. He Chen also drew on ethnological and anthropological theories, exploring the regional, artistic, social, cultural, and ethnic characteristics of Miao batik from various aspects, including the natural environment, human ecology, historical development, religious beliefs, cultural arts, moral values, customs, values, worldviews, and the integration of neighboring ethnic cultures. This is a specific practice of anthropological cultural holism in ethnic clothing research. Wang Yan's research on "Dong Weaving and Embroidery" is also based on primary data obtained through field research in the Dong areas of Guizhou, Hunan, and Guangxi, giving it distinct regional and ethnic characteristics. The neighboring Sanjiang, Liping, and Tongdao counties are the most exquisite areas for Dong weaving and embroidery, and the choice of weaving and embroidery as research points is because Dong clothing in these areas combines both weaving and embroidery, with women skilled in both crafts. Wang Yan analyzed the functions of Dong weaving and embroidery art from an anthropological functionalist perspective, demonstrating that Dong weaving and embroidery art is characterized by practicality, artistry, and manual craftsmanship, carrying multiple cultural functions. As Malinowski believed, culture arises to meet the needs of human society, and every culture has its specific functions, whether it is an abstract social phenomenon or a concrete material phenomenon. According to functionalist theory, only after fulfilling lower-level biological needs do higher-level cultural needs gradually emerge, leading people to first invent cultural categories such as clothing, food, shelter, and transportation, and then create organizational systems and spiritual-level cultures. In analyzing the functions of Dong weaving and embroidery art, Wang Yan follows this trajectory from biological to spiritual needs, sequentially introducing the practical, emotional, ritual, and cultural functions of Dong weaving and embroidery. These functions are often intertwined and overlapping, not mutually exclusive or singular. Without understanding this, one cannot grasp the unity of simplicity and complexity, simplicity and magnificence in Dong weaving and embroidery art. Based on her analysis of the current state of Dong weaving and embroidery, Wang Yan raises the important question of who should protect it and how. She also proposes specific protection measures and methods. She believes that the main body of protection should be the government, groups, and individuals, and that leveraging the role of researchers, planning folk tourism development, and promoting Dong ethnic cultural education will be effective ways to protect and inherit Dong weaving and embroidery skills. This perspective, which emphasizes cultural diversity, highlights the cultural consciousness of cultural holders, and stresses the importance of internal and external factors in the protection of ethnic and folk culture, reflects the authors' strong humanistic cultivation and active concern for reality. Su Ling's research on "Dong Liang Cloth" adopts a case study approach, where she visited Dong cloth-producing areas such as Caiying Village in Liping County, Shangzhai Village in Tongdao County, and Tongle Village in Sanjiang County to examine the current state of Dong cloth. She also attempts to apply the theories of ecological anthropology. She points out that Dong liang cloth is a fabric created by the Dong people to adapt to their agricultural-based production and lifestyle, harmonizing with their surroundings and labor. For the Dong people living in the humid and hot southwestern mountains, indigo-dyed clothing is the best protection against diseases and sores. The indigo dye used to make Dong cloth not only gives the fabric high resistance to light and good waterfastness but also has antibacterial and antiviral properties, while also allowing sweat to evaporate, keeping the wearer dry and comfortable. Thus, Dong liang cloth is a cultural product with ecological wisdom, created by the Dong people to adapt to their living environment. This viewpoint is rich in cultural ecology and further confirms the conclusion that "ethnic culture has the ability to actively adapt to the environment." Su Ling also examined the beliefs and taboos related to the production and dyeing of Dong cloth. Field research revealed that Dong dyeing workshops paste red paper to ward off evil spirits, prohibit pregnant women from dyeing cloth, and ask "Is the cloth dyed blue?" during ancestor worship rituals—all of which are folk prayers and blessings, reflecting the Dong people's concerns about the complex and unpredictable nature of dyeing techniques. This deconstruction of Dong cloth culture aligns with the anthropologist Malinowski's idea of the three factors of culture. Functionally, Dong cloth meets people's daily needs for warmth and protection, while culturally, it assists them in fulfilling different social roles. Su Ling also consciously applied cross-cultural comparison methods, comparing Dong and Miao liang cloth to reveal and highlight the surface and intrinsic characteristics of Dong liang cloth. Another important feature of Su Ling's research on Dong liang cloth is her use of modern natural science experimental methods, conducting scientific experiments and comparisons of Dong and Miao liang cloth in five aspects: rigidity, breathability, friction fastness, wash fastness, and sweat fastness. This approach of applying natural science experimental methods to social science research is a new attempt in ethnic clothing research. Li Yan's research on "Structure of Miao Women's Clothing" shows that the flat structure and three-dimensional wearing effect of Miao clothing are a distinctive feature of ethnic clothing, following basic principles and rules in the field of clothing. It extends and expands these principles and ways of thinking in a unique manner, full of design meaning. Therefore, the study of ethnic clothing styles and structures is an inevitable trend. Li Yan explored the types of Miao clothing and wearing methods in southeastern Guizhou through field research, literature, and physical analysis, as well as vector drawing methods. She proposed that the emergence of each ethnic clothing style has its specific cultural background and ecological reasons, and that clothing styles within the same group are highly unified, with wearing habits often reflecting their life experience applied to the material, structure, color, and wearing methods of clothing to adapt to the natural environment. Li Yan conducted field research in the Miao areas of southeastern Guizhou, visiting 13 townships and villages, classifying the types of ethnic clothing and women's clothing structures in the region and measuring, recording, and describing them. She stood on the premise that "clothing is first a material culture," reducing southeastern Guizhou Miao clothing to its original "material form"—the person wearing it, the human body, and the form and structure of the clothing itself. The material culture of different societies and ethnic groups has always been a focus of anthropological and ethnological research. For example, Lewis H. Morgan, a representative of classical evolutionary theory, studied the relationship between the housing structures and social lives of Native Americans through the study of house construction and housing allocation. Marvin Harris explored the relationship between human diet and culture by examining the different dietary habits and customs of ethnic groups around the world. Clothing is an extension of the human body, and the study of the material form of clothing as a fundamental research cannot be ignored. Therefore, when Li Yan turned her attention back to the seemingly simple and ordinary material form of clothing, it was not merely a "retreat" and "return" in the simple sense of research objects and content, but rather a shift in research vision and approach triggered by modern social changes. The theoretical perspective Li Yan adopted can be summarized to some extent as a combination of cultural anthropology and physical anthropology. Through this empirical research that returns to the material form and function of clothing, it not only obtains and preserves a large amount of primary data and images but also lays a foundation for future research on Miao ethnic clothing culture and cultural heritage protection. At the same time, it holds significant reference value for modern clothing design, encouraging designers to reconsider design ideas from the most fundamental aspects of clothing structure, the relationship between the human body and clothing, and to seek design inspiration and elements.
The craft skills passed down through generations are important intangible cultural heritages, and their disappearance means the loss of ethnic personality and characteristics. How to protect ethnic and regional cultural characteristics in the face of increasingly cross-regional economic influences is a question that must be seriously considered and acted upon. All four authors are concerned with the current state and inheritance of Miao and Dong ethnic clothing craft culture. They express deep concern about the crisis facing Miao and Dong weaving, embroidery, and dyeing techniques and transform this concern into research motivation. In their books, they analyze the current situation, propose countermeasures, and demonstrate a strong sense of responsibility and cultural awareness, making their research highly significant in reality. The four authors are vibrant female master's students. For them, traveling to remote ethnic areas for field research was undoubtedly a great challenge. They did not shy away from hardship and fatigue, dedicating themselves to field research with the passion and love for ethnic culture typical of young people. They all experienced the confusion and excitement before entering the field research, the trials and joys during the process, and the frustration and regrets after its completion, as well as reflection and sentiment after finishing their theses. They have documented their observations, experiences, and insights from field research in ethnic clothing through field diaries and travel notes, recording the emotional journey of their field research. As newcomers to the study of ethnic clothing culture, they appear somewhat naive, and their research has its shortcomings and regrets. Given more time, I believe they will mature further and achieve greater success, which is also my heartfelt expectation and hope.