Document TECHSTYLE Series 1.0: Ariadne’s Thread by mill6chat

前言 Foreword

高橋瑞木、張晶晶六廠紡織文化藝術館聯席總監

六廠紡織文化藝術館（CHAT 六廠）很高興能夠為「新經緯系列」第一浪節目「1.0：亞莉雅德妮的線球」發行文

Takahashi Mizuki and Teoh Chin Chin Co-Directors, Centre for Heritage, Arts and Textile

A frequently ignored fact is that textile production is one of the oldest arts and technologies

集，分享「新經緯系列 1.0」的展覽和研討內容。出版文集旨在面向更多對「亞莉雅德妮的線球」感興趣的讀者，

Centre for Heritage, Arts and Textile (CHAT) is pleased

回應活動提出的多角度疑問。

to launch 1.3: the documentary book of the inaugural

「新經緯」一詞是術語，既可用來表示生產衣服的先進科

TECHSTYLE Series 1.0: Ariadne’s Thread. It is published to

which women have significantly contributed to, both in domestic and social realms. As the subtitle “Ariadne’s Thread”, taken from ancient Greek mythology implies, the inaugural programme focused on the subject of textile, technology, art and women.

share the contents of the exhibition and the discussions that

The programme consisted of two pillars: 1.1 Video Art

倒有一件事經常被遺忘，就是紡織生產是讓女性積極貢獻

took place under the umbrella of TECHSTYLE Series 1.0.

Exhibition and 1.2. Discussion Forum. Video art is a genre

家庭和社會的最古老技藝。副題「亞莉雅德妮的線球」源

The aim of publishing was to address the broader readers

which has come a very long way since its emergence

自古希臘神話，寓意本系列中聚焦紡織科技、藝術和女性

who are interested in the multi-faceted topics and questions

since the 1960s. Rapid evolution in audio, visual, and

的第一浪節目。

發各種可能」，探索科技如何聯繫紡織、時裝、藝術等方

that Ariadne’s Thread had posed to us.

information technologies has also changed the concepts

面的歷史、哲學和各種處理手法。我們希望藉找到的新科

The term “TECHSTYLE” is occasionally used as a

技，描述運用了新技術的紗線、布料，以及 / 或衣物製作過程，也可以形容配置在衣物中的可穿戴科技設備。但對 CHAT 六廠的「新經緯系列」而言，「新經緯」意指「觸

技，能夠衝擊上述幾方面的過去、現在和未來。

technical term in representing clothing with advanced

and methodologies of artistic productions. Showcasing the works by nine female artists, the 1.1 Video Art Exhibition challenged the conventional and biased idea that women

項目包括兩項重點活動：1.1 錄像藝術展覽和 1.2 研討論壇。錄像藝術在 1960 年代面世，至今已經發展了一段時間，影音技術和資訊科技進步發達，改變了創作錄像的

「科技」（technology）一詞源於希臘文「τέχνη（téchne）」，

technology. The expression applies to its yarn, fabric

從詞源上看，能更廣闊地理解這詞；「科技」，其實是有關人

and/or production process as well as to any wearable

類製作事物的知識和能力。

technological devices within such clothing.

而「紡織」（textile）則源自拉丁文「texere」，意思是「編

For our TECHSTYLE Series, however, we use the term as

織」。事實上，製作織物是需要農夫、蠶農、紡紗工人、

a kind of trigger to explore how technology relates with other histories, philosophy and practices in the fields of

and industry has been confronted by for many years.

都是紡織文化和業界多年來面對的議題。

染工、設計師、織布工人等不同專業的人士參與才能成事。「新經緯系列」大膽嘗試集結來自多個學科的專家，把他

textile, fashion and art. We seek to identify the types of

以上活動能夠成功舉辦，實有賴六廠創始捐助機構陳廷驊

們的看法緊密交織起來，細看圍繞紡織文化和藝術的眾多

technology that have impacted on the past, present and

None of what has been achieved would be possible

主題，也正好反映紡織生產多姿多彩的本質。

future of these fields.

have been passive user of technologies, the 1.2 Discussion Forum invited 12 academics, curators and practitioners in various textile and related fields to exchange their ideas about technology, women’s role, ethics, ecology, sustainability, aesthetic and economy that textile culture

without the generosity of our Founding Donor – The D. H. Chen Foundation, and our Main Donor –

概念和方法。錄像藝術展覽展出九位女藝術家的作品，質疑一般認為女性只能被動地運用科技的傳統想法和偏見。 1.2 研討論壇則邀請了十二位學者、策展人與來自紡織業和相關領域的工作者，交流對科技、女性角色、道德規範、環境生態、能否永續發展、美感、經濟的看法，凡此種種

基金會及主要捐助機構南豐集團的慷慨支持。特別感謝研討會協辦單位亞洲協會香港中心，以及 Tastings Group 贊

Nan Fung Group. Special thanks are also given to Asia

助餐飲服務。

Society Hong Kong Centre, our Forum co-presenter, and

我們衷心感謝所有參與活動的藝術家、合作夥伴、編輯及

ability to produce something.

catering sponsor Tastings Group.

設計師，並特別感激珍妮絲·謝菲斯教授與張西美女士不吝

The word textile originally comes from the Latin word “texere” that means “to weave”.

Our sincere thanks to all participating artists, partners,

If we return to the origin of the word technology “techne” in Greek, we employ a broader definition of technology, meaning human knowledge and

In fact, farmers, sericulturists, spinners, dyers, designers, weavers and other various professionals are engaged in the process of textile production. Reflecting on this colourful nature of textile production, the TECHSTYLE Series ambitiously attempts to interweave the views of different specialists from multi-disciplines to consider a myriad of subjects around

editors and designers. We are particularly indebted

賜教，分享知識和經驗。最後也向一直盡心盡力的 CHAT 六廠團隊致以謝忱。

to Professor Janis Jefferies and Edith Cheung for their guidance and insights. Our appreciation also goes to CHAT Team for their dedication and commitment.

textile culture and the arts.

Foreword

前言

序文珍妮絲．謝菲斯

Preface

所謂的「視覺挽救」，即為後代保存快將消失，或是已不復再的東西；這也許是收藏和視覺記錄當代紡織、衣飾、服裝和紡織的生產、消費、穿著，為視覺媒介人類學的

工業生產的緣起。如張西美回應白馥蘭和凌穎詩的論文時

焦點。視覺人類學中較激進者，認為影片呈現發展中地

指出，一方面，香港經濟於 1960 年代起飛（主因是紡織

區的女性，投身傳統紡織及相關工作，力證此類工作的

業興旺，當中以女工為主），另一方面，女性亦為熱切的

重要，從而提升女性地位、自信和期許（Wickett 2007:

消費者，添購變成都市裙裝的旗袍。旗袍源自清朝末年，

The processes of textile and clothing production,

128）。我想起研討會中提及過的女性領袖，諸如循環再

二十世紀初；張氏則認為，穿著旗袍，是要面向世界，

consumption and wearing, is a primar y focus of

造非牟利團體 Redress 創辦人丁潔絲，以及香港環境局前

Kong in the late 1960s. 1 As shown and discussed by

公開表現現代化、獨立性。紡織、服裝和裙的視覺力量，

anthropological visual media. Within the activist strand

副局長陸恭惠等。

CHAT‘s former director, Angelika Li in her opening remarks

有其獨特之處。它們作為視像媒介，引發想像。人，在這

to the Symposium, the film and song reflect both the

例子主要是女性，製造、穿著這些服裝，有如凝於時空中，

significance of Hong Kong’s textile industry and the number

不為變化不息，邁向全球化的世界所動。可是，旗袍已經

of women involved. Funny and celebratory at the same

歷多次變革，並未停留在一個年代。

time, the film’s economic emphasis belies the dramatic

Janis Jefferies

in visual anthropology it has been argued that filmic representation in a developing world context of women’s involvement in such work as traditional textile production, can make a convincing case for the importance of such activity to women’s status, confidence and future expectations (Wickett 2007: 128). Here I am thinking of the references made in the symposium to female leaders like Christine Dean, the founder of Redress, a recycling NGO, and Hong Kong’s Under Secretary for the

紡織生產的影片、影像，令這門十分視覺化（雖然顯然不單是視覺化）的工藝，可由另一視覺角度檢視。高橋瑞木在其「亞莉雅德妮的線球：錄像藝術展的策展人語」的策展論述引用攝於六十年代香港紡紗廠的相片，更是強而有

服裝和人獲「挽救」，卻並未凝於時空之中；布、紡織品、

力。（p. 10）

服裝和裙的感觀元素獲探索，並特意重新定位。安妮．

「相中的女子不理鏡頭，不苟言笑，將紗線筒置於機器上」（p. 10）此一描述，亦適用於葛儀文演講〈千絲萬縷的紡織業：香港紡織成衣業中的女性功績往昔今後〉中展示

changes that occurred in women’s lives and under British colonial rule which came to an end in 1997.

馬爾圍繞二十世紀女消費者，對新「智能」紡織品追求的

Visual “salvage”, the retention for posterity of something

演講，均有所提及。姜綬祥對彭美拉．帕爾馬在美國波士

that is perceived to be disappearing or which may, in

頓的「#technstyle」展覽作評論，剖析時裝和科技結合，

fact, have already gone, is arguably an underlying motif

不但改變設計師如何設計，亦改變人和衫的互動。大膽的

in many rather more contemporary collections and visual

新世代，可見 LED 燈、時裝展節錄、錄像投映，富實驗性

documentation of textiles, clothing, dress and industrial

Environment Christine Loh.

的舊照片。

Film and indeed images of textile production additionally

葛氏家族五十年代的相片，與英姐的動人經歷交織：她是

的變動不斷，尤其以新一代學生、研究員和藝術家為甚。

provide a vehicle for the visual examination of a highly

production. As Edith Cheung has pointed out in her

前製衣廠女工，由廣東南遷至香港的新移民，標誌在二十

博物館展示、電影和攝影，有時難以呈現布料、紡織品、

(though clearly not solely) visual skills perhaps none so

response to the two papers by Francessa Bray and Wessie

世紀中業，「數代年輕女子於製衣廠工作」（p. 60），

服裝外貌以外的特點，例如身體和服裝之間多變的關係，

Ling that, whilst on the one hand Hong Kong’s economy

何以改變現代香港。歌舞片如呂奇 1969 年導演的《郎如

當中又以裙裝為甚；但研討會中，卻未見有此困難。

boomed in the 1960s (due primarily to its thriving female

powerful as the photo that Takahashi Mizuki refers to in her curatorial statement, “Ariadne’s Thread: A Curatorial Note on Video Art Exhibition, taken in a cotton spinning factory in the 1960s of Hong Kong”. (Fig 1. Takahashi’s

春日風》，內有由陳寶珠所唱，深受歡迎的流行曲《工廠

worker based textile industry), on the other hand, women

妹萬歲》。歌曲捕捉漸見於 1960 年代末，香港新女性角

themselves also became enthusiastic consumers through the city dress adaption of Qipao.

introduction, p. 10)

色的精髓。1 有如 CHAT 六廠前總監李安琪，於其研討會

As we were told, this kind of dress originated at the end of the dynastic rule in the early

開幕演講所言，此戲此曲，反映香港紡織業之重要，顯示

20th or, according to Cheung, more specifically a dress for wearing to meet the outside

“Without giving any gaze and smile to the photographer,

工業中女性之多。戲中對經濟之着重，既鬼馬又廣受歌頌，

world, a public performance of modernity and independence. There is something about

卻未能反映於 1997 年英國殖民地統治結束下，香港女性

the visual power of textiles, clothing, dress – their functioning as a visual medium in their

生活的巨變。

own right that captures our imagination. People, in this context mostly women, who

a woman in the picture is placing yarn bobbins onto the machine” (p. 10). This is also true in the examples of the archive photographs shown by Edwin Keh in his

presentation “The Tapestry of Industry: The Feminine Contribution to the Textile and Apparel

produced and wore such clothing can be treated as somehow frozen in time, untouched by a changing, globalising world but these presentations were not amongst them, since

Industry of Hong Kong Yesterday and Tomorrow”.

the Qipao has been mutated on many different occasions.

Keh’s family images from the 1950s entwined with a moving, personal account of Ying

Textiles and people were ”salvaged“ without being frozen in time, sensory aspects

Tse ( 英姐 ), a former garment factory worker’s story of immigrant arrival from Guangdong to Hong Kong, maps the hidden histories of how modern Hong Kong was transformed

repositioned within Anne Marr’s talk around 20th century female consumers embracing

by “several generations of women who worked in the textile and garment factories” (p. 60) in the mid 20th century. Movie musical Her Tender Love, directed by Lui Kei in 1969, includes a popular song performed by Connie Chan called “Long Live the Factory Girls”. It tries to capture the essence of the new womanhood that was emerging in Hong

Perface

were explored within the impact of cloth, textiles, clothing and dress and purposively new “smart” textiles. Kinor Jiang’s response to Pamela Parmal’s #techstyle exhibition in Boston, USA, 2016, examined how the synergy between fashion and technology not only changed the way designers design, but how people interacted with their clothing. A brave new world order of LEDs, catwalk snippets and video projections was in

序文

Fig. 1

電子通訊的全球增長，相扶相承。電子通訊年代，與實體

Vvzela Kook Parallel 2012 HD video, sound 8min. 55sec. Courtesy of the artist

的手工相合，聽來似乎有所矛盾，但科技創造社會聯繫、傳播的網絡，使女性可將技藝，由實體轉為電子。《新經緯系列 1.0：亞莉雅德妮的線球》的錄像藝術展覽，便是 whose voices are being excavated across time and space,

曲倩雯 Parallel 2012 高清錄像，聲音 8 分 55 秒鳴謝：藝術家

myths and stories, histories and oral testimony. So, one argument runs along these lines: that the resurgence in textiles is simultaneous with a global growth in technology and electronic communications of all kinds. While this conjunction with physical practices in the age of electronic

一例（Fig. 1）。重申一次：「科技並非中性」。紡織同為最古老和最嶄新的科技之一。它帶領我們穿越交織的網，展開回到未來的旅程；潘尼羅佩的機靈、亞莉雅德妮的線球，以及雅拉克妮的編織，縷縷續續（Fig. 2）。

communications may appear to be somewhat paradoxical, technology has provided another kind of network of social relations and distribution particularly for women who transfer their skills from the physical to the program, as in the examples of the video exhibition that forms part of TECHSTYLE Series 1.0: Ariadne’s Thread, Technology is not Neutral, cited earlier (Fig. 1). As such, The Enchantment of Cloth, like our most well-known project, Wearable Absence (2005-9),13 is funded by the Social Sciences and Humanities Research Council of Canada. Our research aims to reinvigorate some

textiles as one of the oldest and newest technologies around, takes us through a web, a journey back to the future, Penelope’s cunning, Ariadne’s thread and Arachne’s web continue (Fig. 2).

of the wealth of textiles in the archives of museums by reworking historic techniques (couching) and imagery (rank badges) with new electronic communication. The image used to illustrate this essay comes from a 索爾福特大學 Glass Box 畫廊同名的展覽，引伸一連串在火車上和電郵的交流，為該次出版的契機。12 有如我們最知名的計劃「Wearable Absence」（2005-9），13 「The Enchantment of Cloth」同為加拿大社會科學研究局

Byzantine textile “The Branco Belt” (c. 1350), British Museum, April 2015. The original Branco Belt, under copyright restrictions within the British Museum, was made by laying or couching silver threads by hand. This sample is a test, configured as a wyvern “patch antenna”

贊助。研究旨在以電子通訊科技，重新運用舊有技術（挑

connected to a panther antenna (also from the Branco belt)

繡）和圖案（軍銜徽章），善用博物館存檔中珍貴的紡

on a garment worn by another person. When people face

織資料。本文的插圖，來自大英博物館，一件名為《The

each other and the signal (the connection) is strong, the

Branko Belt》（1350）的拜占庭紡織品。「The Branko

LEDs stitched onto the garment light up. Historical textiles

Belt」以人手製繩、挑繡銀線。此樣本是個實驗，以雙足

are transformed into conductive circuitry for “collective”

飛龍「徽章天線」，連接至另一人身上的「黑豹天線」（同

(meaning more than one to one), communication

出自「The Branko Belt」）。當二人面對面，而訊號又夠

technologies of the 21st century.

強的話，腰帶上的 LED 燈會亮起。是廿一世紀的通訊技術

Conclusion

將歷史的紡織品轉變成了「集體」傳導的電路。

Fig. 2 The Wyvern Sample from the project, The Enchantment of Cloth Researchers: Barbara Layne (Studio subTela, Concordia University, Montreal Quebec Canada) and Janis Jefferies (The Digital Studios, Goldsmiths College, University of London) The Enchantment of Cloth 項目中的飛龍作品研究員：Barbara Layne（加拿大魁北克省，蒙特婁，康考迪亞大學，subTela 工作室）、珍妮絲．謝菲斯（倫敦大學金匠學院，數碼工作室） The mythical wyvern image comes from a Byzantine textile “The Branco Belt” (c. 1350) which was observed in the collection of the British Museum in April 2015. The original Branco Belt was made by laying or couching silver threads by hand. The belt was worn by a Serbian aristocrat in Constantinople (now Istanbul). 神秘的飛龍形象是我於 2015 年 4 月大英博物館所見收藏，來自拜占庭式紡織品《The Branco Belt》（約 1350）。 Branco Belt 原品用粗銀線手工縫製，穿戴於一位君士坦丁堡（現伊斯坦布爾）塞爾維亞貴族身上。

Making in the physical world implies unmaking, remaking,

結論

making new connections across people and place, the

所謂創造，代表拆解創造，重新創造；為不同的人、地，

physical and the virtual. Through the manipulation of textile

實體和虛擬之間，創造新聯繫。通過整理紡織品、紡織過

materials, processes, methods, histories, technologies,

程、方法、歷史、技術，新知識得以創造；箇中，女性功

new knowledges are produced particularly by women

不可沒。她們的貢獻，可見於時空、神話、故事、歷史、口傳箴言中。貫穿本文的推論為：紡織復興，與所有科技、

Mythologies: Penelope, Ariadne and Arachne

神話：潘尼羅佩、亞莉雅德妮和雅拉克妮

Janis Jefferies Professor, Goldsmith College, University of London

註釋

Endnotes

Marcel Detienne、Jean-Pierre Vernant 著，Janet Lloyd 譯，《Cunning Intelligence in Greek Culture and Society》，芝加哥：芝加哥大學出版社，1978: 3-4。

Gayatri Chakravorty Spivak，〈Can the Subaltern Speak?〉，《Marxism and the Interpretation of Culture》，Cary Nelson 和 Lawrence Grossberg 編輯，倫敦： Macmillan，1988: 24-8。

Sadie Plant，〈The Future Looms: Weaving Women and Cybernetics〉，《Body & Society Vol. 1》，1995 (Issue 3-4): 45-64。

Judy Wajcman 指女性在科技中的「隱沒歷史」。Judy Wajcman，〈Reflections on Gender and Technology Studies：In What State is the Art?〉，《Social Studies of Science》Vol. 30，2000（no.3）：447-64。文章亦見於網址： http://www.uni-klu.ac.at/gender/downloads/Wajcman_2000.pdf

1. Marcel Detienne, Jean-Pierre Vernant, Cunning Intelligence in Greek Culture and Society, Chicago: University of Chicago Press, 1978:3-4. 2. Spivak, Gayatri Chakravorty. “Can the Subaltern Speak?” Marxism and the Interpretation of Culture. Eds. Cary Nelson and Lawrence Grossberg. London: Macmillan, 1988: 24-8. To save the reader’s confusion, I am writing here of the British Colonial records since Spivak is critiquing British colonial rule in India. The India Office are the documentary archives of the administration in London of the pre 1947 Government of India. They can be found in the British Library in London, UK. 3. Sadie Plant. “The Future Looms: Weaving Women and Cybernetics.” Body & Society 1, 1995 (3-4): 45-64. 4. Judy Wajcman refers to the “hidden history” of women in technology. Judy Wajcman, “Reflections on Gender and Technology: In What State is the Art?” Social Studies of Science Vol.30, no 3 (2000): 447-64. Also accessible online: http://www.uni-klu.ac.at/gender/downloads/Wajcman_2000.pdf. 5. Angela Creager, Elizabeth Lunbeck and Londa Schiebinger, eds, Feminism in Twentieth-Century Science, Technology, and Medicine, Chicago: The University of Chicago Press, 2001: 4. 6. Archive of Art & Design, AAD/2009/19/10/97, Joan Truckenbrod, ‘Gender Issues in the Electronic Arts Inform the Creation of New Modes of Computing’, paper from the Patric Prince collections, Victoria and Albert Museum, London, UK, 25 June 1998: 3. 7. Thomas J. Misa, “Gender Codes: Defining the problem”, in Gender Codes: why women are leaving computing, ed. by Thomas J, Misa, New Jersey: Wiley, 2010: 4-5; Nathan Ensmenger, “Making Programming Masculine”, in Gender Codes: why women are leaving computing: 116. 8. Lois Mandel, “The Computer Girls”, Cosmopolitan, April 1976: 52-6. Also accessible online https://blog.avast.com/wp-content/uploads/2011/10/ computer-girls.png. 9. Diane Elson. “Nimble Fingers and Other Fables” in Wendy Chapkis and Cynthia Enloe (eds) Of Common Cloth: Women in the Global Textile Industry, Amsterdam: Transnational Institute. 1983: 5-14. One of the most important contributions of feminist scholarship to debates on skill is the recognition that women’s labour becomes cheapened in the marketplace by “naturalising” it, Chapkis and Enloe 1983; Elson 1983.

Angela H. Creager、Elizabeth Lunbeck、Londa Schiebinger 編輯，《Feminism in Twentieth-Century Science, Technology and Medicine》，芝加哥：芝加哥大學出版社，2001: 4。 Archive of Art & Design，AAD/2009/19/10/97，Joan Truckenbrod，〈Gender Issues in the Electronic Arts Inform the Creation of New Modes of Computing〉，「英國國立維多利亞與艾爾伯特博物館 Patric Prince collections 文章，1998 年 6 月 25 日」：3。參閱 Thomas J. Misa，〈Gender Codes：Defining the problem〉、Nathan Ensmenger,〈Making Programming Masculine〉，《Gender Codes: Why Women Are Leaving Computing》，Thomas J. Misa 編輯，新澤西州：Wiley， 2010：4-5、116。 Lois Mandel，〈The Computer Girls〉，《Cosmopolitan》，1967 年 4 月號： 52-6。文章亦見於網址：https://blog.avast.com/wp-content/uploads/2011/ 10/computer-girls.png Diane Elson，〈Nimble Fingers and Other Fables〉，《Of Common Cloth: Women in the Global Textile Industry》，Wendy Chapkis、Cynthia Enloe 編輯，阿姆斯特丹：Transnational Institute，1983：5-14。此文為女性主義學者，探討女性勞力被「尋常化」，繼而在市場遭壓搾的現象，其中最重要的文章之一。

10. 見 Joan Rothschild 編輯《Machina ex Dea: Feminist Perspectives on Technology》，紐約：Pergamon Press，1983。 11. Flis Henwood，〈Establishing Gender Perspectives on Information Technology: Problems, Issues and Opportunities〉，《Gendered by Design? Information Technology and Office Systems》，Eileen Green、Jenny Owen、Den Pain 編輯，倫敦：Taylor & Francis，1993: 32-44；Judy Wajcman，《Feminism Confronts Technology》，劍橋：Polity Press，1991: 22。 12. Barbara Layne、珍妮絲．謝菲斯，〈Electronic Arts: Hacking the Museum〉，《Art, Technology, Technique (ACT series)》，John Gange 編輯，倫敦：Pluto Press， 1998。 13. subtela.hexagram.ca/pages/WearableAbsence.html（2016 年 12 月 26 日瀏覽網頁）。

Janis Jefferies is an artist, writer and curator based in London. She is Professor of Visual Arts at Goldsmiths,

珍妮絲．謝菲斯倫敦大學金匠學院教授

University of London, also working with early career researchers and with developing practice research. She trained as a painter (Sheffield School of Art, Maidstone College of Art and Camberwell College of Arts

珍妮絲．謝菲斯，藝術家、作家及策展人。她是倫敦金匠學院的視覺藝術教授。同時與新晉研究人員合作，並發展實踐研究。

and Crafts) and in woven construction (Poznan Academy of Fine Arts, Poland) under Magdalena Abakanowicz. Jefferies is a pioneer in the field of contemporary textiles within visual and material culture and has been widely

她曾受繪畫訓練（Sheffield School of Art、Maidstone

exhibited and published. Her areas of expertise lie at the

College of Art 及 Camber well College of Arts and

intersection of arts and technologies, including textiles,

Crafts），並跟隨 Magdalena Abakanowicz 學習紡織技術

performance, sound, and publishing.

（Poznan Academy of Fine Arts, Poland）。謝菲斯糅合視覺與物質文化元素，是當代紡織藝術界的先驅。她的作品屢獲邀參展及出版。她擅長的領域介乎於藝術與科技之間，包括紡織、表演、聲音和出版。她是《Textile：The Journal of Cloth and Culture》的創立編輯之一，也是 Bloomsbury Academic 出版的第一本《Handbook of Textile Culture》之聯合編輯（與 Diana Wood Conroy、 Hazel Clarke 合編）；2016 年她為《TExTILE: Crafting

She was one of the founding editors of Textile; The Journal of Cloth and Culture, co-editor of the First Handbook of Textile Culture (with Diana Wood Conroy and Hazel Clarke) for Bloomsbury Academic, and a contributor to TEXTILE: Crafting Community in 2016. Jefferies was co-curator of the First Hangzhou Triennial of Fibre Art in China in 2013 and an exhibitor in 2016.

Community》撰寫專文。謝菲斯是 2013 年杭州第一屆纖維藝術三年展聯合策展人之一，並在 2016 年以展覽者身份參加。

10. See Joan Rothschild, ed., Machina Ex Dea: feminist perspectives on technology, New York: Pergamon Press, 1983. 11. Flis Henwood, “Establishing Gender Perspectives on Information Technology: Problems, Issues and Opportunities”, in Gendered Design? Information Technology and Office Systems, ed. by Eileen Green, Jenny Owen and Den Pain, London: Taylor & Francis, 1993: 32-44; Judy Wajcman, Feminism Confronts Technology, Cambridge: Polity Press, 1991: 22. 12. Barbara Layne & Janis Jefferies, “Electronic Arts: Hacking the Museum”, Art, Technology, Technique (ACT series). ed John Gange, London: Pluto Press, 1998. 13. subtela.hexagram.ca/pages/WearableAbsence.html (accesssed 26/12/16).

Mythologies: Penelope, Ariadne and Arachne

神話：潘尼羅佩、亞莉雅德妮和雅拉克妮

手工紡織的道德價值觀為何出現了這麼大的逆轉呢？紡織是女性的工作 1 中國典型的男女分工，可用「男耕女織」這個準則來概括（Fig. 2）。從公元前 300 年至公元 1581 年，這種男女分工，都被歸納在財政政策當中。中國政府要求以實物繳稅，徵稅的對象是已婚夫婦。作為丈夫的男子，需要繳納十分之一的穀類作物；而作為妻子的婦女，則要繳納同等份量的布匹，可以是未加工的大麻或純絲，種類因地而異。國家的紡織品需求量很大，不管是粗布還是細布亦然。布料可用作製造士兵的制服、繳付官員的俸祿（紡織品常

How did this dramatic reversal of the moral value of homespun and handloom weaving come about? Weaving as womanly work1

被當作貨幣之用）以及提供皇室成員的衣服和禮服。貴重的絲帛也用來購買中亞游牧民族的馬匹，當作外交的貢品或收買想侵略國境的外敵。婦女提供了國家必需的紡織品，因此跟他們的丈夫一樣，被視為國家活躍而不可缺少

The classic gender division of labour in China was 的勞動人口。 encapsulated in the formula “Men plough, women weave” (Fig. 2). From around 300 BC to 1581 this demarcation of manly and womanly work was embedded in fiscal policy. The Chinese state depended upon payment of taxes in kind. The taxable unit was the married couple. The husband paid one-tenth of his cereal crop; the wife’s dues, equivalent in value, were paid in bolts of rough hemp cloth or plain silk, depending on the region. The state needed enormous quantities of textiles, coarse and fine, for soldier’s uniforms, for clothes and payments for its bureaucrats (textiles were commonly used as currency), and for the clothes and regalia of the imperial court. Valuable silks were used to buy horses for the army from the Central Asian nomads, as diplomatic gifts, or to buy off would-be invaders. In supplying the state’s essential needs for textiles, women were recognised as active and indispensable subjects of the state just like their husbands.

Fig. 2 Commercial reality, moral ideal Top: This is the unique late imperial depiction of a man working at a drawloom, with a boy sitting in the tower manipulating the cords; it comes from Tiangong kaiwu (The exploitation of the works of nature) by Song Yingxing, published 1637. Bottom: This is a conventional late-imperial depiction of weaving at a drawloom, showing a woman sitting at the loom, in a domestic setting, with a girl sitting in the tower; it comes from Gengzhi tu, 1742 imperial edition.

Women of all classes made cloth. Peasant women raised silkworms or processed the hemp that their husbands grew, using simple looms small enough to fit in a cottage; the rough weaves clothed the family, paid its taxes, and surpluses could be sold for cash. In elite households, senior wives directed a work-force of kinswomen and servants. As well as plain cloth they often wove fine patterned cloth on draw-looms; these fetched

商業現實，道德理想上：這是一幅獨特的描繪男性操作紡織機、男孩坐在塔中操作線頭的圖片，1637 年重印宋應星著《天工開物》。下：這是一幅傳統的描繪女性操作紡織機、女孩坐在塔中操作線頭的圖片，1742 年御製重印《耕織圖》。

Weaving Women in China: From Virtuous Subject to Transgressive Citizen

中國的紡織女性：從品德高尚的國民淪為違反道德規範的公民

在古代，每個婦女都織布，不分階級。農家婦女養蠶繅絲，

期。婦女在織布機前勞動，不但在物質上是必需的，這也

或在家裏用簡陋的織布機為丈夫種出的大麻加工。編織出

是一種宇宙的秩序和道德修養。女子紡織，體現了勤奮節

的粗布會給家人添衣取暖，用作繳納稅項，剩下的也可用

儉的美德，也是孝道的表現，能夠鞏固家族，團結君民。

來出售。而大富人家中，名份較高的妻妾，會負責監管作

男女分工的互補，為社會提供了物質和道德的基礎。如果

為織工的女親屬和奴僕。她們用提花機織造出的紡織品，

婦女沒有盡本分，做好工作，宇宙的秩序就會被擾亂，

不但有平紋的，也有圖案精細的，價格昂貴。不管在大富

自然或政治災難必隨之而來。

人家，還是貧窮家庭，紡織都使妻子成為「丈夫合適的伴侶」、他的得力助手，而不是無力工作的受養人。

very high prices. Whether rich or poor, weaving made the wife “the fitting companion of her husband”, not his helpless dependent but his active partner. Weaving also reproduced the basic social and ritual fabrics of Chinese society. Home-woven cloth played a central role in the ceremonials of marriage and of death. Wedding rituals required exchanges of cloth between families, and girls wove the cloth for their dowries. When a death occurred, archaic mourning garb of rough hemp cloth had to be worn; the differences in mourning dress showed how closely a person was related to the deceased. Cloth thus consolidated the kinship structures of the Chinese lineage.

一，尤其在男女分工這種「自然秩序」開始動搖的時候。

紡織也重現了中國社會基本的社交和典禮衣料。家紡布料

從宋代開始，商業化和城市化促進了以城市為基地之製造

在婚禮和喪禮儀式中，扮演着重要角色。在婚禮儀式中，

業的發展，製造商為富貴人家和商人家庭提供了高質量的

家族之間需要交換布料；女孩們也會織布，準備嫁妝。

貨品。這些紡織店一般有好幾輛織布機，也僱用工人。

有喪事時，人們會穿上用陳舊粗麻織成的喪服。不同的喪

由於婦女出外工作被視為不合體統的事，包括低下階層的

服，正標示穿戴者跟死者的親疏關係。因此，布料也鞏固

婦女在內，故在城市的紡織店工作的，自然都是男子。

了中華民族的親屬架構。

因此，宋代標誌了中國紡織業分工化的開始。在城鎮，

紡織有深厚的象徵意義，這可從有關的字詞所含的隱喻意義看出：「治」指的是用卷軸把毛線整齊地捲起來，這個字可引伸為治理國家或醫治疾病；「經」本指編織物的縱線，後引伸為孔子編輯的典籍，以及自然界有規律的循環或通道，其中包括針灸中所談的經脈以及婦女的月經週

Weaving’s profound symbolic significance was reflected in the metaphorical uses of textile terms: the word for reeling yarn tidily onto a bobbin (zhi 治 ) was extended to mean ruling the state or healing a disease; the word for warp-thread (jing 經 ) denoted the canonical texts edited by Confucius, and the regular cycles or paths of nature – including the acupuncture tracts, and women’s menstrual cycle. Woman’s work at the loom was not just materially essential: it was also a cosmic ordering and a moral training. In weaving, a woman performed the virtues of diligence, thrift, and the filial duty that bonded families together just as it tied the people (min 民 ) to the ruler (jun 君 ). The complementarity of female and male labour was both the material and moral foundation of society: if women failed to perform womanly work, disturbing the cosmic order, natural or political disasters were sure to ensue.

這就是官方言論，強調婦女應當投身紡織工作的原因之

Weaving Women in China: From Virtuous Subject to Transgressive Citizen

This is one reason why official discourse emphasised the importance of women devoting themselves to the loom – 婦女在家紡紗，再把紗線賣給工作坊；作坊裏的男子用織 particularly at times when the supposed “natural order” of 布機織布，以供買賣。為了繳納稅項，許多城鎮的家庭都 gendered work appeared to be faltering. Starting in the 開始購買布匹。與此同時，農村的大部分婦女還在用簡陋 Song dynasty, around 1000 or 1100, commercial growth 的織布機紡紗和織造粗布，為家人提供衣物，繳納稅項。 and urbanisation fostered the development of urban-based manufactures to supply quality goods to prosperous elite or merchant families. This included weaving-shops, typically housing several looms and hiring weavers. Since even lower-class women could not respectably work outside the home, these urban weavers were men. So the Song marks the beginning of two bifurcations in China’s textile industry. In towns women would spin at home and sell yarn to the workshops, where men worked at the looms producing cloth commercially; in order to pay their taxes, many urban households began to purchase cloth. Meanwhile in the villages most women continued both to spin and to weave, and to clothe their families and pay their taxes with the rough cloth they made on simple looms. Cotton, introduced to China by the Mongol Yuan rulers in the late 13th centur y, gave a new lease of life to village handloom weaving. By 1500 cotton had become the normal clothing for peasants and city-dwellers alike. Village women produced rough but durable homespun on simple handlooms, for domestic use and for sale; in urban workshops men wove fine cotton damasks, dyed and pressed till they shone like silk; in the sprawling suburban villages around important cotton centres like Songjiang, near modern Shanghai, whole

中國的紡織女性：從品德高尚的國民淪為違反道德規範的公民

Wessie Ling

土，丟棄了女性作為弱者和死守傳統的標籤。自 1930 年代以來，旗袍的風格經歷了改變，也融合西方靈感的元素。

Chinese women fashioned the qipao according to their

中國女性的旗袍時尚受社會文化、經濟及政治情況帶動。

socio-cultural, economical and political situations. Their

在中國的不同區域，她們對周圍環境的敏感性，也使得旗

sensitivity to their immediate surroundings saw further

袍產生了不同的變化。如果用「混合」來形容旗袍的話，

variations of the dress across different Chinese regions.

那當中就是多種獨特的方式來體現中國的韻味。儘管在外

If hybridity is the adjective of the dress within, which is the

國人眼中，旗袍的韻味好像沒多大差別；但對中國人來說，

coexistence of numerous hybridities. All of which embody

當中的差別是很大的。旗袍一直是文化身份的象徵；而深

Chinese sensation in distinctive ways. Although to most

奧的中國韻味也是中國人一直津津樂道的。

foreign eyes, such sensation may seem similar, the subtle

Reader, Department of Arts, Northumbria University, UK Wessie Ling is a trained cultural historian and artist who

production of fashion and the cultural property of fashion are common themes in her work.

凌穎詩是文化歷史學專家，也是一位藝術家，她透過撰寫

differences are huge to the Chinese. So much as the qipao

Author of Fusionable Cheongsam (2007), she has written

remains a strong marker of cultural identity, the multiple

widely on the socio-cultural revolution of the qipao,

Chineseness is a story that the Chinese choose to retell over

through which she has dissected the material culture in

and over again.

China.

(2018), “Hyper-Text (ile)s: Transnational Networks in

參考資料

References

Clark, Hazel. The Cheongsam. UK: Oxford University Press, 2000.

Finnane, Antonia. Changing Clothes in China: Fashion, History, Nation. New York: Columbia University Press, 2008.

Finnane, Antonia. Changing Clothes in China. New York: Columbia University Press, 2008.

---------. “What Should Chinese Women Wear? A National Problem” Modern China 22, no. 2, 1996, 99-131.

(2019).

Chang, William, Artistic Director of In the Mood for Love (dir. Wong Kar Wei, 2000), Interview with author, Hong Kong, 02/2017.

She had lectured and delivered talk in many institutions

Cheung, Donna, Co-founder of Cheongsam Connect, Interview with author, Hong Kong, 12/2006.

香港歷史博物館，《百年時尚：香港長衫故事》（2013）。

Hong Kong Museum of History. A Century of Fashion: Hong Kong Cheongsam Story, 2013.

Lee, Chor Lin and Chung, May Khuen. In the Mood for Cheongsam: Singapore: National Museum of Singapore, 2012. Ling, Wessie. “Textile, Apparel and Fashion Design in Taiwan”, in Haruhiko Fujita and Christine Guth, Encyclopeadia of East Asian Design, Volume 3, Oxford: Bloomsbury, 2018. ---------. “Chinese Modernity, Identity and Nationalism: The Qipao in Republican China”, Jacque Lynn Foltyn (ed.), Fashions: Exploring Fashion through Culture. Probing the Boundaries at the Interface Series. Oxford: The Inter-Disciplinary Press, 2012: 83-94. ---------. “Harmony and concealment: How Chinese women fashioned the Qipao in 1930s China”, Beth Tobin and Margaret Goggin (eds.), Material Women: Consuming Desires and Collecting Objects 1770-1950, Ashgate, 2009: 209225. ---------. Fusionable Cheongsam. Hong Kong: Hong Kong Arts Centre, 2007a. ---------. “Chinese dress in The World of Suzie Wong: How the Cheongsam becomes Sexy, Exotic, Servile”, Special issue on ‘Fashioning Society’, Journal for the Study of British Cultures, 14(2), 2007b: 139-49. 吳昊，《都會雲裳一細說中國婦女服飾與身體革命（1911-1935）》，香港：三聯書店（香港）有限公司，2006。 Roberts, Claire (eds). Chinese Dress 1700s-1990s. Evolution and Revolution. Sydney: Powerhouse Museum, 1997. Scott, A. C. Chinese Costume in Transition. Singapore: Donald Moore, 1958. Tsang, Anita, Co-founder of Cheongsam Connect, Interview with author, Hong Kong, 12/2016. 王宇清，《歷代婦女袍服考究》，台北：中國旗袍研究協會，1975。

Kuo, Jason, Art and Cultural Politics in Postwar Taiwan, SMC publishing Inc, 2001. Laumann, Maryta. Qipao. Memory, Modernity and Fashion, Taipei: Fu Jen Catholics University, 2013.

學術文章及視覺藝術創作，討論時裝相關的議題。她經常在作品中探討時裝生產中文化身份和時裝的文化內涵。在其著作《Fusionable Cheongsam》（2007）中，她詳述傳統長衫一直以來的變革及社會文化含意，從中剖析中國

Chinas: Chinese Styles in the Transglobal Landscape

Laumann, Maryta. Qipao. Memory, Modernity and Fashion, Taipei: Fu Jen Catholocs University, 2013.

英國諾桑比亞大學藝術系教授

issues in fashion. The discourse of cultural identities in the

Other publications include Making Fashion in Multiple

Kuo, Jason C. Art and Cultural Politics in Postwar Taiwan, SMC publishing Inc, 2001.

凌穎詩

uses academic writing and visual art practice to address

Fashion Exchange” in Textile: The Journal of Cloth and Cultures (2018), and a special issue on Inter-East Asian Fashion Production for the journal Visual Anthropology

的物質文化。目前，她的工作項目包括參與修訂《Making Fashion in Multiple Chinas: Chinese Styles in the Transglobal Landscape》（2018出版）；為《Textile: The Journal of Cloth and Cultures》撰寫文章「Hyper-Text (ile)s: Transnational Networks in Fashion Exchange」（2018）；為期刊《Visual Anthropology》的特別專題撰文「東亞區

including Royal Academy of Arts (UK), Tate Modern (UK),

內的時裝生產」（Inter-East Asian Fashion Production）（2019）。

Victoria & Albert Museum (UK), Institute of International

她曾於多間機構授課及演講，包括英國皇家藝術學院、

Visual Arts (InIVA, UK), University of the Arts London (UK),

倫敦泰特現代美術館、英國國立維多利亞與艾爾伯特博物

Goldsmith College (UK), Erasmus University (Rotterdam, Netherlands), University of Bologna (Rimini, Italy). She is granted a Research Fellowship at Mahidol University

Lee, Chor Lin and Chung, May Khuen. In the Moon for Cheongsam, Singapore: National Museum of Singapore, 2012.

(2018, Bangkok) and previously held visiting scholarships

Ling, Wessie. “Textile, Apparel and Fashion Design in Taiwan”, in (eds.) Haruhiko Fujita and Christine Guth, Encyclopeadia of East Asian Design, Volume 3, Oxford: Bloomsbury, 2018.

Catholic University (2017, Taipei).

at The University of Hong Kong (2017) and Fu Jen

館、英國國際視覺藝術中心、倫敦藝術大學、倫敦大學金匠學院、荷蘭鹿特丹伊拉斯謨大學、意大利博洛尼亞大學。她獲泰國馬希敦大學授予 2018 年度研究獎學金， 2017 年並分別獲資助成為香港大學、台北天主教輔仁大學之訪問學人。

---------. “Chinese Modernity, Identity and Nationalism: The Qipao in Republican China”, Jacque Lynn Foltyn (ed.), Fashions: Exploring Fashion through Culture. Probing the Boundaries at the Interface Series. Oxford: The Inter-Disciplinary Press, 2012: 83-94. ---------. “Harmony and concealment: How Chinese women fashioned the Qipao in 1930s China”, Beth Tobin and Margaret Goggin (eds.), Material Women: Consuming Desires and Collecting Objects 1770-1950, Ashgate, 2009: 209225. ---------. Fusionable Cheongsam. Hong Kong: Hong Kong Arts Centre, 2007a. ---------. “Chinese dress in The World of Suzie Wong: How the Cheongsam becomes Sexy, Exotic, Servile”, Special issue on ‘Fashioning Society’, Journal for the Study of British Cultures, 14(2), 2007b: 139-49. Ng, Hao. Duhui yunshang. Xishuo zhongguo funü fushi yu shenti geming (19111935). Hong Kong: Joint Publishing Co. Ltd, 2006. Roberts, Clare (eds). Chinese Dress 1700-1990s. Evolution and Revolution. Sydney: Powerhouse Museum, 1997. Scott, A. C. Chinese Costume in Transition. Singapore: Donald Moore, 1958. Tsang, Anita, Co-founder of Cheongsam Connect, Interview with author, Hong Kong, 12/2016. Wong, Yuching. Lidai funü paofu kaojiu [The Research and Examination of Chinese Women’s Gown in Successive Dynasties]. Taipei: Zhongguo qipao yanjiu xiehui [Chinese Chi Pao Research Association], 1975.

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Nationalism, Women and their China: What more the Chinese Talk about when they talk about the qipao?

國家主義、婦女及她們的中國：當中國談到旗袍時，還會講到甚麼？

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凌穎詩的論文隨即把我們的注意力從紡織製造轉向紡織消費。旗袍源於二十世紀初王朝統治結束的時候興起，是城市女性的服飾；更好說，是「面對世界」的服飾，即中國

中國及香港的女性、紡織與科技：對白馥蘭和凌穎詩的回應張西美

Edith Cheung

現代化的象徵。旗袍的出現，可說是預示了女性在紡織方面之角色的結束。在城裏，各家各戶不再擁有織布機，

Wessie Ling’s paper quickly diverted us from women in

由縫紉機取而代之。縫紉機成為紡織業的機器，既可製衣

textile production to women textile consumers. Qipao,

給家人，也是維持生計的工具。裁縫的工作，例如針線活、

which originated at the end of the dynastic rule in the early

刺繡則繼續存留。與此同時，西方的編織、鉤織也加入了

20th Century, was a city dress, or more specifically a

這個行列。

dress for wearing to meet the outside world, representing

不過，在文化大革命（1966-1976）期間，棉和其他供應都有配額。於是，農村婦女再次做起紡線和織衣的工作，

My response reflects and comments upon the papers from

我的反思和評論，是針對白馥蘭和凌穎詩就〈中國及香港

Francesca Bary and Weeise Ling who addressed Women,

的婦女、紡織和科技〉這主題提出的論點。

Textile and Technology in Hong Kong and China.

供給家人所需。棉線十分罕有，婦女們都發揮她們的創意和才智。2014 年，我遇到兩位六旬的上海女士。在文化大革命期間，她們才十來歲，住在鄉下。她們告訴我：

modernity in China. Perhaps its arrival announced the end of women’s role to make cloth. In the cities, weaving looms no longer had a role in households. Sewing machines took over to become the “machine for textiles”, making garments for the family and for a livelihood. Needlecraft like sewing and embroidery stayed on, while Western knitting and

1960 年代，香港的紡織業帶領貿易和製造業增長，推動

「我們用配給劵拿到的工廠製造布料不怎麼耐用，於是把

Hong Kong’s economy boomed in the 1960s with the

經濟迅速發展。歐美的影響和標準通過自由貿易被引入本

那些毛巾布上的毛圈絨頭拔下來，也拆散棉織手套上的

growth in trade and manufacturing spearheaded by the

地，在社會留下痕跡。與此同時，生死婚嫁等家庭事務依

線，取得足夠的纖維，用這些纖維紡成紗線，編織耐用的

textile industry. American and European influences and

However, during the Cultural Revolution (1966-1976),

然由傳統規矩支配。在中國，人們通常用「弄瓦之喜」

布料給家人穿用。」物質缺乏的這段時期過後，中國對外

standards imported through free trade left their marks on

when cotton and other supplies were rationed, women in

（「弄瓦」，意即「手拿紡錘」）這個傳統賀詞來祝賀女

開放貿易，很快發展成為一個生產國。在為世界各國生產

the society. At the same time, traditional rituals held on

the villages once again took up the task of making yarn

嬰的出生；男孩的話則被稱作「弄璋之喜」（「弄璋」，

的同時，也接納了西方的服飾標準和時裝潮流。

in family matters like birth, marriage and death. An age-

and cloth to provide for the family. Cotton fibre was scarce.

意即「手拿美玉」，象徵獲得權力）。能手握紡錘的女孩

old Chinese congratulation on the birth a baby girl is “the

就是好的紡織者，也是理想的妻子應具備的條件之一。

joyful arrival of a child that handles a spindle weight (弄瓦之喜nongwazhixi), while a baby boy is referred to as one handling a piece of jade, a symbol of authority ( 弄璋之喜 nongzhangzhixi). A capable handler of the spindle weight is a good weaver, and that meets one of the standards of a desirable wife.

這就是白馥蘭在她的論文提到的舊中國「男耕女織」的社會現象。1960 年代，手工織布早已在香港銷聲匿跡，紡織業轉向工業化。當時的紡織業是一個很賺錢的行業，吸引了許多人，尤其是婦女投身其中；當中有打工的，也有創業的。

This was the social norm in old China described in Francesca Bray’s paper, where “men plough, women weave”. By the 1960s, spinning by hand had long been forgotten in Hong Kong; it was done in the factory. Incidentally, working in the textile industry at this time was a favoured way to earn an income or make a career, especially for women.

crochet joined the repertoire.

The women got creative and resourceful. In 2014 I met two 60-year-old women in Shanghai. They were in their teens and living in the countryside during the Cultural Revolution. They told me, “Factory-made cloth from the ration coupons was not very sturdy. We pulled out the loop pile from the factory-made terry towels and unravelled cotton work gloves to gather enough fibres to re-spin into yarn to weave sturdy cloth for the family.” After that deprived period, China opened up its doors to trade. It grew rapidly to become a manufacturing country. As she produces for the world, she has at the same time taken in Western dress standards and fashion trends. Fashions of the East and West Between 2012 and 2016, I spent much time in major cities in China. I met a lot of young people who are interested in traditional textiles, especially in cloth-making and natural dye. I see a generation fired by growing economic opportunities and unprecedented prospects of exploring the world. While admiring Western inventions and achievements, these young people also want to reaffirm their Chinese identity. References to ancient China has become a new obsession for them. Classical Chinese studies like Confucianism, Buddhism, calligraphy, Chinese music, tea drinking and traditional crafts have suddenly gained favour and are attracting a rising number of followers.

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103

Fig. 3

帶着自己幾乎快要廢棄的紡織手藝，成為了新成立的婦女

Women in Ten Mile Inn are Practicing Weaving, 1950 Courtesy of David Crook

協會主席最合適的人選。協會的主要任務是教婦女紡線織布，原材料和設備的款項由當時剛成立的村合作社提供，

十里店的女人正在織布，1950 鳴謝：David Crook

技術由王雪德和幾個精通紡織的姐妹負責支持。從 16 歲到 50 歲的所有婦女都符合條件，她們開展這種後勤工作，還能取得一定的報酬。十里店的婦女過去因缺乏本錢， When she was still a young girl, Wang had acquired

以及城市機器大量生產的競爭而被迫失去職業，現在重拾

superb weaving skills. In the 1920s, hand weaving

這種技能並賴以為生。經濟地位的改善，成了十里店婦

workshops in the countryside were not affected by the

女開始解放的最強有力的因素。對當時的社會境況來說，

industrialised use of looms in the cites; however that was

編織無疑為新社會帶來了新景象。

far from a peaceful time, Wang’s father was shot dead by Japanese soldiers, because he wore a light blue suit that looked similar to the uniform of the Eighth Route Army. Wang’s husband was later captured by Japanese and disappeared for good when doing business in other places. She suffered a lot from her mother-in-law and a widespread famine, ending up becoming one of the most loyal supporters of Chinese Communist Party. She was the most suitable candidate to lead the Women’s

十里店的織女：織機的生命

Association. The main duty of the association was to teach

現在，我想說一個故事，跟本文開頭所講的很不一樣。

weaving skills to local women. A newly set up farmers’

大衛．柯魯克（David Crook）和伊莎白．柯魯克（Isabel

co-op was responsible for the purchase of raw materials

Crook）伉儷在 1948 年春作為觀察員採訪河北十里店村土改複查，在他們的拍攝與寫作中，記錄了一位名叫王

In that region. Perhaps they are Daqing’s objects that are

雪德的女性和她所帶領的婦女編織團隊。在這個村莊裏，

not widely used in everyday life, globally, but regardless of

婦女、生產、解放和抗日通過紡織緊緊地聯繫在了一起

a discussion around their aesthetic value Daqing is making

（Fig. 3）。

a living with his work. We can imagine another kind of

當王雪德還年輕時，已經熟悉紡織這門手藝。當時仍是二十世紀初，鄉村的手工織布還未受到城市織布機器化的衝擊。但時代並不平靜，父親因為身穿和八路軍相似的淺藍色套裝，被日本人槍殺。因為家傳的織布手藝，她的丈夫外出做布料生意時，又被日本人抓走，從此杳如黃鶴。後來，她受不了婆婆的壓迫和饑荒的折磨，成為十里店最早和最積極擁護共產黨的人員之一。深諳村中情況的她，

daily life, one in which someone weaves quietly in search for freedom. I suggest that this freedom enables them to find the connection between their daily chores and the finished woven products. By doing so, Daqing is able to further perfect his weaving skills in exchange for new kinds of objects that are beyond ordinary daily items. Woman Weavers: The Life of Loom Here is another story which is very different to the one I

opened with at the beginning of this essay. In the spring of 1948, David Crook and his wife Isabel Crook were invited, as observers, to report the land reform taking place in Ten Mile Inn in Hebei Province. They accidentally kept a video footage of Ms. Wang Xuede and a women’s weaving team led by Wang. In the village, women, mass production, the liberation of China and War of Resistance Against Japan

and equipment, while Wang and other women would teach weaving skills to local farmers. Any woman, aged between 16 and 50, could join this weaving program and

然而，當我們再回到今天的十里店，折射出的是一張中國地圖一無論男性和女性，早已離開農田與手工業，包括曾經給予女性地位的織機與針線。這時候的十里店，早已被華北地區高聳着煙囪的鋼廠蠶食。織機早已不復存在，靈動而生命的雙手，早已沾滿灰塵。這些塵土在華北的霧霾天空飄蕩着，籠罩整個村莊。海蒂．沃特：非專業編織編織是這樣的一種技藝或記憶：當身體和大腦掌握了這門技能，身心合一，忘然如呼吸；就好比人們掌握了開車之後，便會說「我也不記得是怎麼把車開回家的」。學會做一件事情的過程，有時是解釋不了的。從笨拙到熟練，再到爐火純青、胸有成竹一再到開始上手時，會發現這也是一種對技藝的遺忘，不知如何，便抵達了終點。

earn a regular payment from their weaving works. In the past local women barely made ends meet, as they were unable to raise enough funds to start their own businesses and not a strong competitor for mass production of textile in the cities. The picking up of ancient weaving skill enabled them to sustain their living; while the improvement of their economic status was the driving force behind the liberation of women in Ten Mile Inn. Under the social setting at that time, weaving no doubt became a clear signal in ushering in a new society. However, when we return back to Ten Mile Inn today, we are seeing the epitome of China’s economy – both men and women have abandoned their farm lands and handcrafts personship the loom and needlework. These skills were essential to improve women’s status. Now, Ten Mile Inn has become part of the properties owned by steel mills. The looms are gone; those busy and work-roughened hands are now covered with dust. The entire North China region is covered by a hazy mist, and the Ten Mile Inn is no exception.

were closely connected with weaving as I go on to tell (Fig. 3).

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157

然而，我們也看到愈來愈多的藝術家使用編織，而非從編織開始。材料得以拓展，而編織的意義在當下的藝術展示中，也獲得了新的運用。海蒂．沃特（Heide Voet）在比利時布魯塞爾及台北生活、工作。在第二屆的杭州三年展裏，她用了彩色膠袋作為展品。沃特用五百年後才能分解的彩色塑膠袋，編織了不同國旗一這些國家都已經在地 Heode Voet: Non-professional Weaving Weaving is an acquired skill through the coordinated efforts of both the body and the mind. By analogy, when someone has “mastered” the skill of driving he or she might say “I have no idea how I have driven the car home,” such is the tacit experience of the action was learned. Skill improves gradually practicing for a long time. For beginners, the learning process is also an art of forgetting; for some reason the skill can be acquired in a mysterious way though usually it is a life time of daily practice. More and more artists are applying weaving techniques to their art work. It has become a noticeable trend. However, they are not professional weavers. Their weaving materials

圖消失，換言之，這作品旨在紀念只存在於歷史中的政治體系。而在編織的領域中，圖像化的表達方式並不新鮮，這手法向觀眾們呈現了一種思考的模式。觀眾不理會誰是藝術家或編織者，對這件作品的評價不從編織入手，而是專注於作品藉圖像和語言所表達的含義；換言之，觀眾要注意的，是編織的藝術，並非藝術的編織。藝術是一種改變編織的實踐，而不僅僅是藝術家回到編織原初的專業狀態。這是編織面臨的詭譎，也是與之相關的藝術展覽面對的新情況一如何不被圖像和符號佔領。然而，編織是比符號和圖像離我們遠得多的領域，所以在現代的藝術展示中，非專業化是一個潛在的趨勢，或者說已成為現實。專業的編織者會看其編織方法、精緻度、材料與技法的突破，這是屬於一個編織者的驕傲。

新式編織，新的世界舉辦第二屆杭州纖維藝術三年展的目的，既為了發掘新的作品、發現尚不可知的編織者，和探索創作的新途徑。我們會發現，在似乎大範圍的衰落和消失中，各個地方和群體能夠承襲下來的生活，除了通過大眾媒體被展示之外，也在藝術中獲得閃光。這也讓我們看到纖維藝術的發展潛力。我們看重其背後所伸展開的生活方式和思維方式，無論其持久與否，都是一種提醒。我們看待衰落的方式在藝術與設計的展示中得到提醒，而編織者則從中能獲得一些新生。機器大量生產的紡織替代了手工編織。有時候我們僅僅將前者看成是破壞的力量，有時候，卻又提供了一種

However weaving is an art form that is far away in our

更響亮的對雙手的禮讚。手，無論在物質貧乏時期或者豐

daily life compared to imageries and symbols; therefore in

富過剩時期，都面向未來，為有形世界織造溫暖。

today’s art exhibition, de-professionalization has become

編織着的那個世界，是織者尋找並捍衛的團體一無論是專業還是非專業，無論是愛好還是生命依存。在編織的世界，無論展示的是甚麼，都是以一種方式為先決條件一編織的能量，它並不需要通過符號來證明其編織的意義，因為編織就是它自身的圖像、符號與藝術。在編織的世界裏，與編織有關的活動也是一門具有實際價值的知識。強

are different, and weaving is given new meaning in artistic

烈的編織感和獨特的編織法是可以被欣賞的，它可以是不

display. Heide Voet, who lives and works in Brussels and Taipei, used colour plastic bags

再流行，但仍有自己的知識系統和生命系統。

in her installation in the second Hangzhou Triennial. The bags would only degrade in 500 years. The national flags she wove were for countries that had disappeared for good. In other words, she tried to pay homage to countries that used to have thriving history.

an underlining trend, or has already been a reality. Only professional weavers are sensitive enough to notice the breakthroughs in terms of weaving methods, accuracy, raw materials and weaving skills, which is the pride unique to professional weavers. New Weaving, New World The Second Hangzhou Triennial of Fibre Art was designed to discover new artworks and introduce to the public weavers that are unknown from places with long weaving

history. It is true that weaving has declined or disappeared dramatically in recent years. For those places or interest groups that are strong enough to inherit weaving arts, their

Graphic design is nothing new in the weaving world. It has enabled artists to present

ways of living have been exposed to public eyes, enabling us to see the glittering

their ways of thinking to audiences. Audiences are keen to learn more about the graphic

potential of fibre art. However, what matters most is their way of living and way of

design and the hidden meaning behind its visual language, but not who the artists or

thinking, regardless of their sustainability; it is a kind of reminder. We are made aware

weavers are. On the other hand, the fibre art is not artistic weaving. The art is a kind of

of a declining art form, on the one hand whilst some weavers are witnessing a rebirth.

practice that tries to transform weaving, not requiring artists to return back to the primitive

The machine does indeed replaces a lot of manual work in weaving. In the Triennial this

condition of weaving. This is exactly the dilemma of weaving nowadays, or weaving

is exactly why we examined machine weaving as a destructive force; on the other hand,

related art exhibitions. The question is how not to be occupied merely by imageries and

machine weaving can be also interpreted in praise of hands. Capable hands, regardless

symbols.

of scarcity or place, are ready to embrace the future and produce the warmth of a tangible world.

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159