Historical Background of Velvet Fabric

The origins of velvet can be traced back to the mirror garments of the Western Han Dynasty. It developed from the "silk floss lining" cut velvet of the Yuan Dynasty, and by the Ming Dynasty, it was produced in large quantities and exported to Japan, Portugal, the Netherlands, Singapore, and other places, especially favored by the Japanese. Velvet gradually evolved from "plain weaving" to "patterned" and "cut velvet," becoming increasingly refined. The *Fujian Gazetteer* describes Ming Dynasty velvet as "mechanically produced, almost surpassing the work of nature." Ming Dynasty velvet fabrics used silk for both warp and weft. After Zhangzhou velvet was introduced to the Nanjing Jiangning Textile Bureau during the Ming Dynasty, it underwent processing and innovation, developing into Nanjing's unique carved velvet, which became incredibly popular among scholars and officials. For a time, "Jinling velvet was expensive," and high-ranking officials and nobles alike considered it an honor to wear carved velvet. Two important Ming Dynasty velvet artifacts are the velvet crown unearthed from the tomb of Wang Xijue in Suzhou, and the double-sided velvet four-sided ruyi embroidered dragon-patterned women's garment and the blue single-sided velvet women's garment unearthed from the Ming Dingling Mausoleum in Beijing.

In the early Qing Dynasty, velvet weavers were concentrated in the area outside the East Gate of Zhangzhou, with a merchant named Bao Yong specializing in the trade. By the mid-Qing Dynasty, velvet was used by everyone from the emperor and scholar-officials to local gentry, and it was even designated as a tribute item. Products made included dragon robes, palace garments, mandarin jackets, curtains, and tablecloths. Zeng Da was a skilled velvet weaver at that time. Surviving artifacts include a Qing Dynasty Jingling velvet gilded court hat, a late Qing Dynasty blue Zhangzhou velvet mandarin jacket with eight auspicious symbols, a Qing Dynasty Guangxu period purple Zhangzhou velvet vest with auspicious and longevity motifs, a Zhangzhou velvet landscape scroll, a Zhangzhou velvet peacock scroll painted by Shen Quan, and a Zhangzhou velvet piece with five bats holding a longevity symbol.

During the Taiping Rebellion, many renowned velvet masters and artisans fled to Jiangsu and Zhejiang provinces. In the late Qing Dynasty, government corruption led to the felling of mulberry trees in Zhangzhou for cultivation, resulting in a shortage of silk. Many veteran artisans passed away, and the velvet industry gradually declined. Only two velvet weavers, Lai Zai and Zeng He, remained. Nanjing and Hangzhou, however, saw development thanks to the arrival of velvet artisans.

In 1929 (the 18th year of the Republic of China), Zhangzhou established a vocational school to revive velvet production, hiring the renowned artisan Wang Ming to teach weaving techniques. However, this ambitious plan was unsuccessful as Wang Ming passed away. In the early stages of the Anti-Japanese War, Gao Kaikou, Wang Xiwen, Wang Yucheng, and others organized a group of ten people in Huayuanhou, Zhangzhou, to teach the craft and attempt to revive production. However, the quality and style were inferior to the past, and sales and costs were impacted by products from Hangzhou and Nanjing. Production ceased after only three months. According to a 1952 survey, there were fewer than ten velvet artisans (including those from Longxi Buwei and Liushi townships), all of whom had changed professions and were over 60 years old. Their tools had also been lost, making it difficult to resume production. Later, relevant departments sent two cadres from the Zhangzhou Silk Factory to conduct in-depth interviews in various counties of the Longxi Special District, learning that there were still people in Nanjing who knew how to weave velvet. In 1958, the Zhangzhou Silk Mill sent personnel to Nanjing, Hangzhou, and Suzhou for professional training, and Nanjing provided Zhangzhou with machinery. Thus, Zhangzhou's "velvet" industry was revitalized. In March 1961, the silk mill used the "pattern-setting" technique to weave Dong Biwu's inscription commemorating the Minnan Revolution, "The path trodden by a gentleman-the path taken by Comrade Mao Zedong-is the path that guides the victory of the Chinese revolution," into a 170cm long and 70cm wide piece with a light yellowish-brown background and black velvet surface-a technique never before seen in velvet production. Production later ceased due to funding and other reasons. As of 2009, only one street-level factory in Zhangzhou was producing velvet.