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Hundreds of Li people in Hainan Province weaving Li brocade to celebrate a local festival in March

 

 

 

The Li brocade is a historic relic of the Li people, emerging from the unique conditions of the Hainan Island-based ethnic minority group. It reflects the profound cultural tradition, and is a vehicle for the coexistence of the modern and the tradition in a unique, living and flexible way. Its continuity has provided present generations with irreplaceable cultural value.

 

 

The Li brocade and Li tattoo vary across different dialects or aboriginal variations within one dialect. Unfortunately, the Li tattoo is gradually becoming extinct, but the brocade continues to be passed down from generation to generation.

 

On Hainan Island, the Li brocade is the folk art most closely linked to the Li minority. The brocades are noted for their use of rustic, natural compositions depicting scenes from daily life. These distinctive compositions are full of rich and lively character, embodying people’s aesthetic taste.

 

The patterns used in Li brocades have practical communicative value, revealing a symbolic quality akin to language itself. This communicative value is understood by other ethnic groups from regions around Hainan, with whom the brocades improve mutual respect and admiration. They form a bridge for communication between ethnic groups and provinces.

 

Brocades differ according to aboriginal languages in the agglomerations of Ha Dialect, varying across counties in Hainan like Ledong, Dongfang, Changjiang, Baoting, Lingshui and Sanya. For example, the brocades associated with the Baohuai county dialect “Three Stars” are used to make tubular skirts for women and feature geometric patterns depicting simple images such as chicken, ploughshares or two people sitting back to back. The color palette is simple—not overstated—but the “Three Stars” brocades give off a lively aura. Flowering branch patterns are embroidered in the back center of blouses made with the “Four Star” Li brocade, found scattered throughout Baoyou, Zhizhong, Da’an, Qianjia and Jianfeng counties; the edges of these garments are decorated with a continuous chevron pattern around the border.

 

Additionally, people attach copper wire, copper bells, passementerie and beads to the “Four star” brocades, so that when worn, walking will cause them to make a distinct and melodious sound . Overall, this creates a truly unique effect combining sound and scenery. Li brocades in Lingshui, Sanya and Yaxian counties, also used to make tubular skirts, are especially noteworthy for their flamboyant imagery: geometric patterns composed of vivid images, such as weddings, yellow apes and tortoises stand out on a black background.

 

Li brocades possess seven more unique features based on dialect. Brocades from areas where the Qi dialect is spoken, for example, often feature a variety of embroidered patterns such as patterns depicting Kapok trees, harvests，bamboo, crabs, Gangong Birds (a symbol of a moving love story between a young couple), and poles for shouldering heavy burdens. Patterns embroidered at the waist of a garment’s back are called “flower on the waist” or “flower on the back”, and patterns on the front of a garment are called “pocket flowers”. The patterns employ only a few colors, typically include pink, pale yellow, pale green, but they are inlayed with white stitching which accents the colors of the main pattern. The whole pattern is bright and fresh; the different colors achieve a natural, festive harmony.

 

The brocade popular in the area where the Run dialect is spoken, in Baisha Li Ethnic Minority Group Autonomous County of Hainan Province, is unique for its double-sided embroidery on shirts made from five different pieces of cloth; these garments are called “pullover shirts”. Both sides of the shirt or the front of the shirt have a V neck which make them easier to wear. Women’s shirts have identical patterns decoratingboth sides—this is accomplished through meticulous embroidery using a double-sided needle. The rich, colorful embroidery includes dragon patterns, Sangong patterns (patterns describing the royal palace or the image of the emperor), hunting patterns and other patterns of various flora. The shape and composition is particularly unique: these patterns are designed in square frames, together building simple geometric shapes into more abstract figures. Brown is used as the main color of the clothes, combines with pale yellow, pink and a pink-hued green. The end of the clothes is decorated with floral patterns framed in black. These exquisite, gorgeous brocades of the Run dialect group are on a par with the famous double-sized embroidery from Suzhou.

 

Additionally, the brocades in areas that speak the Sai dialect, located in Baoting, Sanya and Lingshui counties of Hainan Province, are known for its weaving. The “Blanket used by thousands of families” from Dongfang county in Hainan, is a popular traditional textile craft among the Li, who use it as a sort of quilt cover. It is especially prevalent in the areas which speak the Meifu dialect. People use white silk line as the bottom line, and choose green, dark and red lines as match colors. The bright colors contrast with one other, making Li women fond of the blanket.

 

As the Li people share common values, such as desiring peacefulness, the thriving of posterity, and hearty hunting, the patterns on their garments are always related to these values. Though many different dialects are spoken in areas inhabited by the Li, they communicate with each other deeply through their splendid brocades.

 

 

The history of Li’s philosophical thought, relationship with nature and societal development are all conveyed through the traditional culture reflected in the Li brocade. The technique of Li brocade is an integral part of Li history and culture; its uniqueness, and the diversity of its variations, is a faithful record of the environment in which the Li people conduct their lives, and of their survival skills.

 

A variety of natural images are embroidered on the Dragon Quilt for example, such as depictions of forests, longevity fruit, bumper harvests and “the ten thousand things becoming more fresh and lively”. The main part of the composition depicts the most abundant system of plants and animals. In other words, it is a summary of all animals and plants known by the Li people. The images of animals and plants in daily life shows how closely attuned and attached the Li are with nature.

 

The Li people have lived on Hainan Island since ancient times. Their sincere love of nature is evident from their harmonious relationship with and participation in the island’s ecosystem during their inhabitance of the island. This principle and understanding has been passed down from generation by generation in Li areas; they believe that every creature on Earth has its own value of existence.

 

The art of the Li brocade also reflects the survival skills of the Li, and the environment in which they live. As the Li don’t have a written language, these textiles are a crucial means to record the Li’s history. The brocades stand for the beliefs, knowledge and wisdom accumulated by generations of Li. They are the symbol of the Li’s uniqueness. As outside observers, the Li brocade—it’s production process and its magnificent variety of patterns—gives us a window into their lifestyle, morals and customs, and beliefs and taboos. In learning about the development of the Li brocade, we can get to know how the techniques of brocade weaving and embroidery evolved, and gain insights into the social life of Li people.

 

The authors are from the Humanities & Communication College of Hainan University

 

Translated by Wang Wei

Revised by Charles Horne

 

The Chinese version appeared in Chinese Social Sciences Today, No. 477, Jul 19^th, 2013

 

The Chinese link:　

http://www.csstoday.net/tebiecehua/82703.html