Chapter 1167 Su Sha
"What are you picky about?" Master Yang's loud voice sounded at the door: "You can clearly write well and do a good job in pairs! Oops, Tingting and Xue Li are also Here we come!”
“Master Yang, this is my grandma” Zhou Zhi pushed the wheelchair: “She also likes female celebrities, and I came to visit you with her specially. "
"How dare you do that?" Yang Dequan said with a cheerful smile: "Come in quickly, these are rare guests! As a bonus, there are several close-ups of the finer points of Hanfu in the MV, giving viewers who watch the MV a general understanding of traditional high-end Chinese clothing.
Guan Tingting is a clothes rack herself, with a height of 1.7 meters and a small face. Even though her long legs are covered by Hanfu, her slender and graceful figure perfectly interprets the nobility and elegance of brocade clothes.
In fact, except for the clothes, all the furnishings in the study room in the small building in the MV are genuine products collected by Zhou Zhi. The overall style and details are not comparable to ordinary temporary simulation scenes.
But what everyone is most interested in is the clothes, and there is even a craze for discussing Hanfu.
Strike while the iron is hot, Master Yang also appeared twice in a row in Chi Xueli's "Professional Master" and "Nice Weekend" because of his skills, and now he is starting to become famous.
The courtyard is a combination of a factory, a store and a home, but it is more appropriate to call the store an exhibition hall than a store.
There are many exquisite fabrics on display inside, and the most impressive one is a large-scale Shu embroidery one foot high and seven feet wide - "Guan Yu Reads the Spring and Autumn Annals".
The background of the picture is pavilions, bamboo forests, and strange rocks, and the foreground is calamus, moss, and hosta flowers. In the middle, Guan Yu is a red-faced man with a solemn and upright face, wearing armor, parrot green robe, and feet. He was wearing combat boots, holding spring and autumn bamboo slips in one hand, and stroking his beautiful beard with the other.
Behind him were Guan Ping and Zhou Cang, one with a white face and the other with a black face, who were serving him. Guan Ping is holding a lacquer plate with a bamboo scroll in his hand; Zhou Cang is holding an upright Guan Dao with both hands, which is similar to half of the door gods.
Because the painting is huge, the Guan Yu embroidered on it is almost life-size, which is very shocking.
The most important thing is the details, which are very delicate. At first glance, Guan Yu's green robe looks ordinary green, but when you get closer, you can find that the robe is actually with dark patterns of flowers, and the collar and cuffs are also lace!
Including the jade ornaments on the waist belts of several people, the mythical beasts on Zhou Cang's arrow-embroidered wrist guards, and the layering of the soles of Guan Ping's official boots. Almost every detail that can be crammed in has been crammed in by Master Yang. Full of details.
Yu Sanniang’s embroidery work is already very wonderful and delicate, but the small pictures she usually produces are also in the same vein as the traditional "official embroidery". Master Yang's masterpiece has obviously been It breaks through the tradition.
Another kind of art is Kesi. Kesi can restore the painting method of Chinese painting, and the imitation calligraphy painting effect produced is also very high in artistic achievements.
But there are still no large-scale creations. As big as "Guan Yu Reads the Spring and Autumn Period" now, in ancient times almost only quilts were so large, such as the famous Kesdra Sutra Quilt, but those large-scale productions have Detailed regulations, patterns and text will not allow craftsmen to use their imagination freely.
"It's incredible." When grandma saw this embroidery, her lips were trembling with excitement: "It's incredible! Today is really an eye-opener!"
Zhou Zhi squatted down and studied the patch of moss in the foreground carefully.
The moss is embroidered with several green silk threads, from bright yellow-green to deep dark green, which expresses the texture, color and even the slight difference in height of the moss, making it almost fake. .
"What kind of threads are there here?" Jiang Shuyi also squatted down, wanting to reach out and feel the furry texture, but she didn't dare.
“Five kinds of threads, seven kinds of stitches.” Master Yang said with a smile: “The silk thread used there is divided into three parts, that is, one ordinary silk thread is split into three parts, and one thin thread is The diameter is only one-third of the previous one, and the dark green base comes out like this The lighter the color, the thicker it is, and the more scattered the embroidery is, so that the moss growth effect is revealed. Isn’t it particularly delicate?” Zhou Zhi gave a thumbs up: “This is called excellence.”< br>
"This is not the thinnest yet." Yang Dequan introduced: "To achieve the antique effect of today's tapestry, one needs to be dismantled and used in six parts, otherwise the diameter of the ancient silk thread will not be reached."
"and How about hair?"
Master Yang seemed to think that Zhou Zhi asked something funny and couldn't help laughing: "Silk threads are much thinner than hair. During the Tang and Song Dynasties, The silk products are relatively thick, generally using ten to twenty warp threads and fifty to seventy weft threads per centimeter. "
"The Ming Dynasty began to pursue perfection, such as the tapestry master Zhu Kerou, who worked on tapestry in the Tang and Song Dynasties. It was doubled, and one hundred and thirty were used.”
“The thinner the line, the easier it is to express details, right?”
"Yes, of course it also has something to do with the color pattern, use, age, etc."
"For example, for multi-color weaving, the silk used must be thin, while single-color weaving can be thicker; the same is true for use, If the underwear fabric needs to be soft, it should be thinner, and if the neckband needs to be stiff, it should be thicker. "
"What was going on in those days?" Zhou Zhi liked to hear this.
“Era, that is, the earlier the silk threads are, the thinner the threads will be. This is because silkworms spin thicker and thicker silk threads as they are selected, and their output becomes larger and larger. As early as the Western Zhou Dynasty, a The latitude lines used in square centimeters can even be as high as two One hundred and forty is because the silk thread is very thin."
"From two hundred and four to sixty..." Zhou Zhi thought for a while: "From the Western Zhou Dynasty to the Song Dynasty, the silk thickness increased almost four times. The ancients were still awesome.”
"So, why can't the Western Han Dynasty plain yarn Zen garment unearthed in 1972 still not be copied? That's why."
Everyone began to visit the small courtyard, and Zhou Zhi and Master Yang discussed the topic Once you open it, you can't hold it back.
“I know that piece of plain gauze clothing. Its characteristic is that it is light and thin. It weighs less than one tael for a dress that is more than one meter long. The silk used is very thin, right?”
“Yes. Yes, that plain gauze jacket is 128 centimeters long, the sleeves are 195 centimeters long, the cuffs are 29 centimeters wide, and the waist is 48 centimeters wide. , the hem is 49 centimeters wide, and the total material is about 2.6 square meters. "
"The entire plain gauze garment weighs only 49 grams, but if you exclude the cuffs and collar. Part of it, but the 'plain yarn' part that makes up the main body of the clothes actually weighs only about 25 grams. ”
"So... one square meter of fabric weighs only twelve grams? This... Isn't this too scary?" Only now did Zhou Zhi realize that although he already admired the craftsmanship of this dress, the real data was actually It was much more exaggerated than I knew.
“Yes, in terms of plain yarn alone, the weaving method of the square hole yarn originated from the Zhou Dynasty. The fabric holes are even and the density is sparse. The warp density is fifty-eight per centimeter and the weft density is per centimeter. Forty, so the holes are large, the light transmission area is more than 75%, the texture is soft and translucent, and the weight per square meter is about 12 grams." Yang Dequan said.
"But even so, it won't be impossible to replicate it in twenty years." Zhou Zhi expressed dissatisfaction.
(End of this chapter)