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“Hand-twisted”: A Study on the Craft and Culture of Summer Fabric and Ramie
2016
Advisor: Professor Yue Wang
Project Members:Xianggui Zhu,You He
Funding Projects: This paper is a research outcome of the Tsinghua
Art and Science Research Center's Qipai Intangible Cultural Heritage Research and Preservation Fund Project
Advisor: Professor Yue Wang
Project Members:Xianggui Zhu,You He
Funding Projects: This paper is a research outcome of the Tsinghua
Art and Science Research Center's Qipai Intangible Cultural Heritage Research and Preservation Fund Project
Keywords: Ply-joint; Ramie Cloth; Culture; Inheritance
Here, we systematically introduce the relationship between traditional craftsmanship and traditional materials, discuss the Inheritance of traditional craft and application prospect of Chinese Ramie Cloth.
To address this issue, we conducted field research on traditional summer fabric weaving techniques in Liuyang, Hunan; Wanzai, Jiangxi; and Rongchang, Chongqing, as well as a study of ramie raw material processing and ramie spinning techniques in Showa Village, Japan. This paper focuses on the most crucial link in the processing of summer fabric raw materials—'ramie spinning,' to explore the historical and cultural development of ramie spinning and its significance as a core feature of handmade summer fabric heritage.
It is well-known that the widespread use of cotton weaving technology in China only began around the late Yuan Dynasty and early Ming Dynasty. Before this period, silk textiles were considered the highest quality fabrics and were reserved for the elite. Ordinary people primarily used fabrics made from various tough plant fibers, with "cloth" often specifically referring to hemp fabric. Consequently, "cloth clothing" became a term for commoners.
In China, the primary materials for hemp textiles are ramie, hemp, and ramie. The history of ramie textiles is quite ancient, with relatively complex weaving techniques appearing around 6000 years ago, though few actual artifacts have been unearthed. Ramie and hemp textiles are relatively more common, with ramie being more prevalent in the south and hemp found in both the north and south. Ramie textiles typically have a higher yarn density. For example, the white ramie cloth unearthed from Mawangdui in Changsha, Hunan, reaches over 200 threads per inch (warp and weft combined) (see Figure 1).
Today, while kudzu and hemp fabrics are rarely found, ramie fabric, now known as "summer cloth," has been preserved for thousands of years.
In ancient times, people initially used stone tools to beat the stems of bast fibers, softening them, and then tore them into long strips. These strips were twisted into ropes or woven into nets. From the experience of twisting ropes, techniques for spinning and weaving were developed, marking the beginning of primitive hand-weaving.
Bast fibers like ramie are relatively long and easy to obtain. The processed bark was split into finer and finer strips, a process from which the term "analyze" is derived. The process of twisting and joining these fine fibers to continuously produce yarn is known as "spinning ramie." In ancient Chinese, the characters "缉" (to gather) and "绩" (to achieve) are related. "绩," which means achievement, extends from the idea of "accumulating small amounts to create more," as seen in "The Zuo Tradition: Year One of Duke Zhao" which states: “远绩禹功” (distant achievements of Yu). "远绩" refers to great achievements.
According to "Erya: Explanation of Words," "绩" means to continue, to carry on, to work, to achieve, and to complete. "成" indicates a process of transformation from quantitative change to qualitative change, and a certain state of development. Achievements are accumulated to form a complete state, leading to the term "成绩" (achievement). In ancient times, "clothing" was considered a priority among daily necessities. Spinning ramie into yarn and weaving it into fabric solved the problem of clothing, marking a significant accomplishment. Thus, "绩" as a crucial part of ancient textile culture, addressed the challenge of transforming long plant fibers into yarn, closely connecting with daily life.
However, before beginning the hand-spinning process, the primary task is to obtain clean, high-quality fibers from the plant’s bark. Our field research on various traditional summer cloth production techniques highlights that factors such as the selection of ramie varieties and key processes like retting significantly impact the quality of the spun hemp yarn.
Currently, China primarily uses hybrid ramie varieties such as Chuanramie No. 2 and Xiangramie No. 2, which have been developed specifically for the hemp-spinning industry. During our field research in Jiangxi and Hunan, we discovered that a local variety known as "Chicken Bone White" is still used by some traditional producers. This variety produces extremely high-count and pure white hemp yarn. However, ramie varieties are visually similar, and since farmers do not maintain dedicated nurseries, it is difficult to identify wild varieties directly. Verification often requires assessment by specialized institutions such as ramie research institutes. During our visit to Showa Village in Japan, we observed that Japan still retains ramie varieties specifically used for traditional hand-spinning.
In the Sichuan, Chongqing, Hunan, and Jiangxi regions of China, ramie is typically harvested three times a year. In the Hunan and Jiangxi regions, ramie harvested before May, known as "Spring Ramie" or "Head Ramie," is considered the best for producing high-quality fine white summer cloth. Ramie harvested in July, called "Month Ramie," is of lower quality and used for medium-grade fine white summer cloth. Ramie harvested in October, known as "Cold Ramie," is the lowest quality and used for coarse summer cloth. In the Sichuan and Chongqing regions, the best ramie is typically harvested twice a year. The timing of the harvest affects not only the quality of the current season’s ramie but also the quality of future crops.
The process of retting, also known as "cutting ramie," involves harvesting and separating the ramie stalks. Our research found that in China, retting and stripping of ramie are often performed simultaneously in the field, where the ramie bark is removed directly (see Figure 2). The bark is then soaked in water, and the green skin is scraped off using a ramie knife, a process known as "scraping green" (see Figure 3). After scraping, the ramie fibers are bleached and sun-dried for use in spinning. In Liuyang, a simple "bamboo tube for retting" and "ramie knife" are used for scraping green. Historically, the process often involved retting before scraping, as described in literature with phrases like "The Eastern Gate Pond can rett silk"【41】. Nowadays, the retting process is no longer commonly practiced in China. Older generations recall that during the harvest season, fields would be filled with retted ramie stalks, and over time, these would emit a foul odor.
The purpose of retting is to effectively separate the fibrous outer layer from the woody core and green skin. Through soaking, the tannins present in the ramie outer skin are removed, facilitating the cleaning of the fibers. This process aligns with descriptions found in historical texts. For example, the "Qi Min Yao Shu" states: "For retting, use clean water; the ratio of fresh to aged is appropriate. Dirty water will make the ramie black." [§ Additionally, there is a common saying: "One cup of tea spoils the ramie."
If the retting time is too short, the ramie bark is difficult to strip. If the retting time is too long, the ramie will rot and the fibers may break. Thus, retting is a crucial process for purifying ramie fibers and laying a solid foundation for producing high-quality ramie yarn. Therefore, restoring and protecting the retting process is an important focus for future preservation efforts.
The process of ramie weaving involves two main steps: splitting and twisting.
Splitting: This involves tearing the ramie into strips. Using fingernails, the center of each strip is separated to form fibers that are coarse in the middle and finer at the edges (see Figure 8).
Twisting: The traditional twisting method involves combining the ends of two separated ramie fibers and twisting them together by hand. The fibers are twisted along their length and aligned with another fiber to form a continuous strand (see Figures 9 and 10). This twisting process is repeated in a cycle.
Twisting can be categorized into single yarn twisting, multiple yarn twisting, and whether the twisting is done before or after the fiber is twisted. Different twisting methods yield different styles. Twisted fibers are more secure and prevent loosening or breakage during weaving, while untwisted fibers maintain the original stiffness and luster of ramie, making them more demanding in terms of splitting technique.
Regardless of the twisting method, the process needs to be completed continuously in a moist environment; otherwise, the ramie yarn will become rough and hairy. The presence of hairiness in coarse ramie is a primary cause of the itching sensation when wearing handmade summer cloth. The fiber advantages of ramie are well-preserved through the twisting technique, and distinguishing between handmade ramie summer cloth and machine-woven ramie fabric often comes down to the presence of twisting (see Figure 11). Additionally, the variability introduced by handcrafting results in uneven cross-sections in the warp and weft of ramie, creating a unique texture that serves as a cultural symbol of summer cloth.
In the Wanxian area of Jiangxi, some skilled artisans still practice the splicing technique, but most are elderly, making succession very difficult. The low value-added state of summer cloth in China means that splicers receive minimal compensation, leading the younger generation to move to other fields of work. This has created a dilemma where "young people are not interested, and the elderly can no longer continue."
Compared to the splicing technique, the cultivation of ramie has declined even more rapidly. In Wanxian, there are almost no fields for hand-spliced hemp. Local inheritors have preserved a small plot of land but only grow, without harvesting, as the subsidies for growing hemp are insufficient to cover the costs of stripping and scraping. In Liuyang, the last remaining hemp field was preserved with the help of enthusiastic individuals, allowing the retention of some of the stripping and scraping techniques. However, most of the hemp used for splicing locally is purchased from other regions (see Figure 12).
1. Strengthen Research and Public Awareness:
Research:There should be a focus on studying the historical and technical aspects of hemp fabric technology. As an important part of China's and Asia's textile history, understanding the development of these crafts is crucial.
Public Awareness:It is important to correctly educate the public about the knowledge and culture related to hemp weaving. Misunderstanding or conflating "weaving" and "spinning" can lead to gaps in cultural transmission and incomplete preservation of techniques. Given the long history of hemp fabrics being exported, traditional high-quality handmade hemp cloth is rarely seen in domestic life. Promoting and popularizing knowledge about the impact of modern industrial practices on traditional crafts should be a priority.
2. Protect All Aspects of the Craft:
Holistic Protection:The preservation of hemp cloth craftsmanship should extend to all stages of the process, not just weaving. The hemp weaving technique, particularly, should receive the same level of protection as the weaving process. In places like Fukushima, Japan, and Hansan, Korea, there are officially recognized practitioners and protection programs for traditional hemp weaving. Such measures are crucial for maintaining the integrity and high quality of hemp fabric.
3. Design-Driven Development:
Integration of Craft and Industry:Handcraft and industrial techniques should complement each other as part of a legacy and contemporary choice. Expanding the application of hemp fabric in various daily and consumer contexts is essential. Designers should use traditional techniques in diverse and integrated ways, focusing on how hemp fabrics and fibers can be utilized in fashion, home decor, and other areas. This approach will help bring traditional craftsmanship back into everyday use.
By adopting these strategies, the preservation and promotion of traditional hemp weaving can be better achieved, ensuring its relevance and quality for future generations.
While modern short-fiber processing techniques dominate the textile industry, machine-woven hemp cloth cannot represent the highest level of traditional handmade hemp cloth. Hemp cloth is included in the national intangible cultural heritage protection list, but the hemp weaving technique itself has not received adequate attention and preservation. It seems like a fragile structure swaying amidst the market's waves. Traditional crafts are crucial components of the traditional cultural system and should not be isolated from protection. As cultural workers safeguarding traditional crafts, we should view preservation from a contemporary perspective. "Weaving" and "spinning" should develop together. By leveraging modern cultural effects and production methods, we can attract more attention to the development of traditional craftsmanship and uncover its value. Only by building a sense of self-identity and cultural belonging among participants in intangible cultural heritage can we establish effective protective measures starting from hemp weavers.
[2] Chen Weiji: *History of Textile Science and Technology in China – Ancient Times*, [M], Beijing, Science Press, 1984, pp. 381, 387.
[3] Liao Jiangbo, Yang Xiaoming: "From 'Failing Success' – A Study on Hemp Weaving," *Silk*, 2016, 53 (06): 71-75.
[4] Li Bin, Li Qiang, Yang Xiaoming: "Textile Studies in the *Book of Songs*," *Silk*, 2011, 48 (03): 50-54.
[5] Li Qiang: *Research on Textile Techniques in Ancient Chinese Artworks*, [D], Donghua University, 2011.
[6] Same as [2].
[7] Wei Yuan: *Study and Improvement of the Itchiness of Summer Cloth Clothing*, [D], Xi’an University of Engineering, 2014.
[8] [Spring and Autumn] Zuo Qiuming, *Guoyu*, [M], edited by Jiao Jie, Shenyang: Liaoning Education Press, 1997: 148.
[9] Liao Jiangbo: *The Origins, Crafts, and Textile Arts of Summer Cloth*, [D], Donghua University, 2018.