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    In Ming Dynasty, Zhejiang handicraft industry developed quickly based on the achievements of Song and Yuan dynasties. Zhejiang was well known for its dye and textile industry, Hangzhou embroidery, Ningbo style furniture, Dongyang woodcarving and so on.
    Zhejiang silk made many innovations in particular techniques and got distinct flavor of the region. The tribute list of Hangzhou included fully flowered Spring Silk (silk fabric with a geometric design for spring wear), Fu Shou Mian (blessings and longevity) Spring Silk, big petal Spring Silk and Su Xiang (plain scented) Spring Silk, all of which were light, thin, supple and monochromatic jacquards. The Imperial Palace still keeps the Hangzhou produced pale blue silk cloth of flowers of four seasons and pink round flower patterned silk cloth. Hangzhou textile featured massiness and smoothness. And Hangzhou gauze was a welcome product for it wore comfortably. The Autumn Gauze (for autumn wear) and the patterned gauze were both famous specialties of Hangzhou. During Chongzhen's reign of Ming Dynasty, the white thin and tough silk produced in Hangzhou stirred the whole River South and its fame even reached the capital for its beautiful round flower patterns and its paper-like weight. It was invented and produced by Jiang Kunchou, hence the name Jiang's Silk. In Ming Dynasty, Hangzhou was also famous for its embroidery. The works were generally woven in gold and silver threads, so Hangzhou embroidery had another name 'Gold-and-Silver Embroidery'. The embroidery industry was very prosperous as they worked on everything including officer's wears, the phoenix coronet, Taoist priest's robe, veiling, and long narrow flags. Embroidery workers were all males who lived on their refined skills. At that time, even the imperial dragon robe was made in Hangzhou silk bureau or in Suzhou. Zhejiang Jiaxing was noted for its printing and dyeing Yao Ban Bu (cloth with drug speckles) or Jiao Hua Bu. They made patterns on the cloth with alum and ash ooze. After the cloth had been dyed, dried in the sun and cleaned off the ashes, the white bright flowered patterns appeared. Longquan celadon was the only one famous of Zhejiang pottery, and those produced from Shutian kiln in Damei Town of Longquan was a fine representative of it. The early pea green works and the later light green ones were all smooth, sparkling and beautiful. The most characteristic shapes were big vases and big plates with embossed double fish or twining twigged peonies. It was popular to print a patterned auspicious Chinese character in the middle of the plate. In Zhengtong Year, the works produced by Gu Shicheng were named after him. The flowered patterned burner of Longquan Kiln, called Dou Lu in Ming Dynasty, was carved with simple and clear-cut flowers. In early Ming Dynasty, the royal court established 'Guo Yuan Chang' in Beijing to make lacquers and called in Zhang Degang to be the head. Zhang was born in Xitang of Jiaxing, Zhejiang and he was the son of the famous lacquerer Zhang Cheng. He arrived at the capital on the imperial order, won the emperor's recognition and was given an official rank right after the interview. Bao Liang of Jiaxing was also a lacquer master who was called in for royal service in Xuande Year. Due to these two people as the chief, the lacquer wares of the time followed the styles of Song and Yuan Dynasty to be round, smooth, and simple and emphasized on artistic carvings and the sense of the quality of the paint. In the last years of Ming Dynasty, Yang Ming of Xitang, Jiaxing (or Zhongqing) was good at lacquer. In 1625, he annotated Light Brown Lacquer Wares sentence by sentence and made it complete by adding a preface. It was a great contribution to the perfection of ancient lacquer theories and techniques.
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