What is the position and function of China ancient silk in national life?

Food, clothing, housing and transportation are four essential elements in human life, and silk, as a material, has a very special position in China's social life. On the one hand, silk beautifies and nourishes people's life in China. Gorgeous and soft silks and satins are decorated with clothes for men, women and children, family mattresses, public places such as halls and temples, ancient books and calligraphy, and other stationery for study. Traces of silk can be found even as small as handkerchiefs and wallets. On the other hand, sericulture and silk weaving industry is the main support of China's rural economy, especially the southern rural economy, and it is also one of the most important financial and foreign trade revenues of the country, which plays a huge role in national economic construction. Silk is not only closely related to the wearing value and economic value of these surfaces, but also has an indissoluble bond with the traditional culture of China.

I. Silk and Language and Literature

Among the discovered Oracle Bone Inscriptions, there are more than 100 places with "Kui" as the radical. In Xu Shen's Shuo Wen Jie Zi, there are 260 words beside the word, 75 words beside the towel and 120 words beside the clothes, all of which are directly or indirectly related to silk weaving. In the words with "Zi" as the radical, the textile and silk industry includes reeling, deduction, warp, weft, drawing, weaving, heald, unification, discipline, spinning, unique, continuous, sparse, ambiguous, braided, knotted, practiced and embroidered. The colors of textiles are green, light green, twips, purple, red, silk, silk, silk, etc. Clothing accessories include tassels, gentry, silk, balls, new buttons, nylon, edges, silk, silk, etc. Among them, silk craft and clothing occupy the main position, accounting for about 50%; Silk varieties are second, accounting for about 35%; Fabric color name accounts for about 30%; Other characters account for about 15%.

In the Southern and Northern Dynasties, the number of characters originated from textile silk increased further. Among Gu Liang Wang Ye's jade articles, there are seven jade articles related to Kui, totaling more than 400 words. In the jade articles of the Song Dynasty, there are 459 characters of "Kui", "towel" 172 and "clothes" 294. By the Qing Dynasty, there were about 830 words in Kangxi Dictionary, much more than in the Song Dynasty. This shows that there is a close relationship between China language and silk.

In modern Chinese, there are many compound words and idioms derived from silk textiles, which greatly enrich the language of our nation and enhance the expressive force, such as "synthesis", "continuation", "clue", "constraint", "editing", "organization", "connection", "cross-sky and cross-latitude" and ". Among them, "self-winding" originally refers to a process of silkworm spinning and cocooning, and later refers to self-winding and self-sealing; Embroidery of the Heart, Splendid Rivers and Mountains, and icing on the cake all use the beauty of silk fabric to describe the beauty of other things. "Latitude and longitude" refers to the intersection of latitude and longitude to form the whole world, from which "longitude" and "latitude" used in geography today come; The original meaning of "weaving" is the warp and weft interwoven structure of fabric, and later refers to various artificial combinations; "mechanism" is the structure of loom, and later refers to all mechanical and organizational structures; "Synthesis" originally refers to the orderly gathering of many silk threads through the heald; "shine on you is better than blue" means that the blue grass dye can get a darker color than grass, which is used to describe that the younger generation has surpassed the older generation; "People who are close to ink are black" is an image description of a dyer who is polluted by dyes near the dye vat all day, which means that people's thoughts are easily influenced by friends or the environment.

In addition, there are a large number of professional textile science and technology works, such as Silkworm Book, Ziren Legacy System, Tiangong Wu Kai and so on. , directly describe the silk production, there are a lot of poems, novels and other literary works related to silk production in ancient China. The emergence of these literary works is based on the production situation of male ploughing and female weaving in feudal society. Because family silk weaving occupies an extremely important position in ancient society, and women are easily described by literati, "female weaving" has become an important theme for writers. There are many such examples.

There are many descriptions about silk production in China's earliest literary work The Book of Songs. The famous "hurricane? In July, there was a poem describing the production of sericulture and silk: "The fire started in July and the reeds were full in August. "Silkworm, moon, mulberry, axe fork, to cut far and wide, for the mother mulberry. There is sound in July and achievements in August. With mystery, with yellow. I, Zhu Kongyang, dress my son. " Another example is "Xiaoya? Green picking is related to grass dyeing: "In the end, green picking is not profitable. "Send a song to the station, and then return to the acre of land. Finally, blue is used, and there is no profit. It will last for five days, but it will not last for six days. " In the Han, Wei and Six Dynasties, a large number of poems related to silk were still recorded, such as ancient poems in the Han Dynasty. Pull weeds up the mountain: "Pull weeds up the mountain and go down to see the old man. I got down on my knees and asked my old husband what happened to the new man ... new man-made weaving, so man-made weaving. Weave a horse a day, weaving more than 50 feet. It's better to be a newcomer than a vegetarian. "Editing and proofreading: five ancient poems, poems of pre-Qin, Qin, Han, Wei, Jin, Southern and Northern Dynasties, Chinese poems, twelve volumes of ancient poems, Zhonghua Book Company 1983. Another example is Shang Mo Sang written by Han Yuefu, which describes the story of Luo Fu, a mulberry-picking woman. It is also famous: "Sunrise in the southeast corner, look at my Qin Shilou. Qin has a good daughter who calls herself Luo Fu. Luo Fu is good at raising silkworms and picking mulberry in the south corner of the city. Moss is a cage system and cassia twig is a cage hook. There is a bun on the head and a bright moon in the ear. It's the skirt below, and the purple one is the one above. Edited by Li: Sang's Poems of the Pre-Qin and Han Dynasties, Wei, Jin, Southern and Northern Dynasties, Volume 9, Ancient Poems of Yuefu, Zhonghua Book Company 1983. In addition, many poems in the Six Dynasties, such as Song of Silk, and Degree of Mulberry Picking, were also about silk production.

The Tang Dynasty is the peak of China's poetry creation, and there are many poems related to textiles. Many famous poets have written such poems, such as Du Fu's Bai Sixing and Li Shangyin's Spring Silkworm Woven to Death. Among the poets in the Tang Dynasty, Bai Juyi, Wang Jian and others wrote the most. Bai Juyi is a realistic poet, and he has many works that reflect the life of working people, such as Shining Silk, Red Carpet, Poems, etc. Focus on silk production. Among them, the widely sung song Twilight: "What's the difference between Twilight and Twilight, unlike Luo Kun and Wan Qi? It should be like Tiantai Mountain, 45 feet before the waterfall and spring. There are some great articles, white fireworks and snow on the ground. Weaver, Han, Yuexi cold girl. Last year, Ambassador China made a statement, and samples fell from the sky. Woven like autumn geese outside clouds, dyed like Jiangnan spring water color. Wide-cut shirt sleeve dress, gold barrel ironing knife to cut patterns. The extraordinary splendour is hidden, and the flowers are uncertain. " Wang Jian, a poet in the late Tang Dynasty, wrote many poems reflecting the production of sericulture and silk weaving, such as Ju Silkworm Ci, Tian Jia Xing, Jin Qu and Yi Dao Qu. Among them, "Jin Ge" describes the life of Jinhu in Sichuan: "The eldest daughter is Jinhu, and the name in the county is a book. A long head is an official, and the bitter smell of the official family. The lateral leaves of flowers are different, lest the silk thread wither in autumn. Red dragonflies are purple and soft, butterflies fly and flowers turn. "

Song dynasty was famous for its ci poems, which contained many descriptions of sericulture. Su Shi's "Huanxi Yarn" once described the reeling production in rural areas: "The hemp leaves are shining layer by layer, and whoever cooks cocoons in a village has a beautiful fence." "The towel falls on the jujube, the car rings in the south of the village, and the cow clothes sell cucumbers." Xin Qiji's "Partridge Sky" has a cloud: "The flowers are unfamiliar, the soft strips have just broken buds, and the oriental silkworm eggs have been born." There is also a cloud in "Pink Butterfly": "Yesterday spring, thirteen women learned to embroider, one by one, and did not teach flowers fine. Very heartless, it will rain, it will rain, it will be windy. Spread the garden with lichen red crepe. " Are all related to silk production. The best textile word written in Song Dynasty is Nine Machines written by Anonymous, which tells the story of a brocade woman weaving acacia into patterns: "One Machine. Pick mulberry and try on spring clothes. The weather is sunny, warm and weak. On the peach blossom branch, the warbler whispered and refused to let people go. Two machines. Pedestrians will be delayed immediately. Deep heart didn't resist the faint command, turned and smiled, and the flowers returned, for fear of being known. Three machines. Wu silkworms are old and young. The Dongfeng banquet will stop at Changzhou Garden, and the ladies-in-waiting will change their dancing clothes. Four machines. There are heavy eyebrows in the hoarse voice. Go back to weaving lotus seeds. It is easy to spend money, but it is difficult to get rid of troubles. Five machines. The stripes weave Shen Lang's poems. No one will. No sorrow, no haggard. Send acacia. Six machines. Everything is playing with flowers. There are even two butterflies among the flowers, which stopped for a day and wandered in the window shadow. I watched it alone for a long time. Seven machines. Yuanyang frowned and hesitated. I'm afraid of being cut lightly, flying in two places, hating once and following you again. Eight machines. Palindrome knows which poem it is. Woven into a desolate meaning. After reading all the lines, I am too tired to speak and can't bear to think about it. Nine machines. Two flowers, two leaves and two branches. Since ancient times, it has been fickle, from beginning to end Stick to the heart. Through a silk. "

During the Ming and Qing Dynasties, novels prevailed, and descriptions of sericulture and silk were common in novels. This kind of description can often be seen in the "San Yan Er Pai" in the Ming Dynasty. For example, it is written in the Biography of Awakening Marriage that there was a craftsman named Shi Fu in shengze town, Jiangsu. It turns out that he is a small business owner and keeps several baskets of silkworms every year. However, because of his good sericulture and silk reeling technology, the quality of the silk he weaves is good, and merchants are scrambling to increase the price to buy it. In just a few years, he added three or four machines and hired workers to knit. Another novel in Ming Dynasty, Jin Ping Mei, takes Ximen Qing, who runs a silk shop, as the protagonist, in which there are many names and trade situations of silk (Figure 0? 4? 2)。 Cao Xueqin, a descendant of Jiangning Weaving Cao Yin, has an extraordinary understanding of silk production and products. Therefore, his masterpiece A Dream of Red Mansions also contains a lot of descriptions of silk textiles, such as lock brocade, makeup satin, cicada yarn, light cigarette yarn, cocoon silk, feather yarn, silk reeling, elastic ink, crepe, west cloth, sparrow gold, doro, silk and so on.

Second, silk and art.

Silk has been one of the important painting and calligraphy materials since ancient times. As early as the Spring and Autumn Period and the Warring States Period, a large number of silk books and paintings were made of silk. During the Tang and Song Dynasties, silk was the main material of literati paintings, and most of the paintings handed down from Tang to Song Dynasty were silk replicas. In the Ming and Qing dynasties, silk books gradually decreased and paper books increased, but there were still many paintings and calligraphy with silk books as the theme, which were called silk books or silk books. Since the Song Dynasty, silk has also become a mounting material for calligraphy and painting. In the Song and Yuan Dynasties, silk and brocade were mainly used as mounting materials and wrapping heads, while in the Ming and Qing Dynasties, brocade was used to mount paintings and calligraphy. Therefore, silk is closely related to fine arts. Zhou Ying: On the Influence of Silk on China's Painting, Research on Silk History No.2 1985.

In the history of China, the relationship between silk and art is more reflected in the frequent appearance of silk production scenes in ancient works of art as a common theme.

Silkworm patterns have been seen on bronzes in Shang dynasty, and many copper pots with mulberry picking scenes were unearthed during the Warring States period. The mulberry picking map reflects the scenes of labor, love, song and dance and sacrifice of mulberry picking women at that time, which is very vivid. From the Han, Wei and Six Dynasties to the Sui and Tang Dynasties, scenes of silk production often appeared in stone reliefs, brick reliefs, murals and wooden paintings. In particular, Han Dynasty stone reliefs have been found in Yuan Hongdao, Shandong, Longyangdian, tengxian, Jiaxiang Wuliang Temple, Guo Ju Temple in Xiaotangshan, northwest of Feicheng, Shandong, Ciyun Temple in Jinyang Mountain, Liucheng Town, Pei County, Jiangsu, Cao Zhuang in Sihong, Jiangsu and Zengjiabao in Chengdu, Sichuan. Most of their subjects are Zeng's mother's broken machine training, and the machines in the picture are all oblique looms. Zhao Feng: Research on the Restoration of Pedal Loom in Han Dynasty, Cultural Relics No.5, 1996. In the mural tomb of Wei and Jin Dynasties in Jiayuguan, Gansu Province, a large number of portrait bricks related to mulberry picking and silk picking were found. In the Tang Dynasty, there were two famous works related to silk production, namely "Ramming Map" and "Tired Embroidery Map". The paintings not only reflect the process of silk refining, embroidery and sewing, but also reflect the silk patterns at that time.

The most famous painting reflecting the process of silk production is the plow weaving map drawn in Linglou, Ganxian County in the early Southern Song Dynasty. Farming and weaving map is based on agriculture and silk production at that time, with 2 1 item and 24 items. Its original work was presented to Song Gaozong, painted in colorful silk by Hanlin Painting Academy, and collected in the palace, which became a reference and appreciation for members of the royal family to understand silkworm weaving. I left the copy at home. There are Wu Huanghou's inscription, Liang Kai's edition and Bai Cheng's edition of Plough and Weaving Map in Song and Yuan Dynasties. Among them, Wu Huanghou's inscription books include: bathing silkworms, cutting leaves, warming seeds, Nadeshiko, picking leaves, body feeding, sleeping for one time, sleeping for two times, sleeping for three times, warming silkworms, busy picking leaves, feeding big leaves after sleeping, picking mountains skillfully, tufting, climbing mountains, cocooning, cocoon dropping, silkworm moth emergence, cocoon appointment, cocoon peeling and cocoon weighing. During the Qianlong period, someone entered Cheng Yuan's farming and weaving map, which was drawn in strict accordance with the order of the Song Dynasty. Qianlong made a plough and carved stones and hid them in the Summer Palace.

During the Ming and Qing Dynasties, the manuscripts of plough weaving maps came out one after another, especially in the Qing Dynasty. In the thirty-fifth year of Kangxi (1696), in February, Emperor Kangxi ordered Jiao Bingzhen, a court painter, to copy the floor plan, draw it into a woven map of imperial cultivation, and personally wrote poems as a preface, which were published in various places to persuade farmers to mulberry. Later, Yongzheng and Qianlong dynasties followed suit, and at that time, imitation plow mapping was very popular. Some agricultural books and local chronicles have also printed farming patterns, and even many stone carvings, window lattice wood carvings, porcelain paintings, New Year pictures, paper money and inkstones have farming patterns. The prevalence of tillage and weaving map also led to the birth of the same type of cotton map.

Silk is also closely related to other decorative arts. Silk used to be a wall material for interior decoration, so it was often imitated in architectural patterns. Decorative patterns such as bronzes, ceramics, lacquerware, and gold and silver wares have also followed the example of silk decoration, or interacted with silk style, reflecting the common characteristics of the times. For example, since the middle of the Bronze Age, the periphery and gaps of animal patterns on various ritual vessels have been filled with various small geometric patterns, such as palindromes and thunder patterns, which may be influenced by the embroidery of animal themes on geometric dark-textured fabrics. Brocade patterns that can often be seen in the patterns after the Song and Yuan Dynasties include small geometric patterns such as curved water patterns, chain armor patterns and ball patterns. As the ground, the zigzag pattern with the theme of ring is undoubtedly derived from the design of silk pattern, which appears in almost all arts and daily necessities such as porcelain, metal utensils, lacquerware and architecture.

The relationship between silk and art can also be found in the music field. According to historical records, wild silk has been used to make strings. From this point of view, string, as one of the main forms of China's instrumental music, can not be separated from silk. The ancient instrumental music in China is also called "silk bamboo".

Three. Silk and Religious Etiquette

Ancient China was a country with strict etiquette system. In ancient society, silk fabric itself was a symbol of nobility and status, while cotton and linen fabric was the clothing of ordinary people.

Tian Zi's clothing is undoubtedly the most upscale. "History? In "A Record", we have already seen the record in Chapter 12 of the First Coronation Ceremony: "If you want to see the images of the ancients, the sun, the moon, the stars, mountains and rivers, dragons and Chinese insects, meet; Zong Yi, seaweed, fire, glutinous rice, flounder, glutinous rice, embroidery; Paint five colors on five colors and offer them. "According to the explanation of later generations, the meaning of these twelve chapters is: the sun, the moon and the stars, which means shining light; Dragons can change and take their meaning; Mountain, take its nature or the meaning of town weight; China insects, pheasants, take the virtue of their articles; Zong Yi, known as a respected ancestral temple, has the shape of a tiger and a scorpion, which means it is brave and intelligent. Algae and aquatic plants have words, or take them clean; Fire, take its light; Powder rice, take it to raise; V, golden axe-shaped, meaning can be cut; In fact, two people are opposites, and taking a subject is to turn evil into good. Zhou Xibao: History of Clothing in China, China Drama Publishing House, 1984, p. 15. Chapter XII Different grades can use different quantities. In the second year of Yongping in the Eastern Han Dynasty (59), it was decided that the emperor would use twelve chapters of the sun, the moon and the stars for the next nine years, three chapters of the mountain dragon for the maharaja dragon three and seven chapters of the Han worm. Zhou Xibao: History of Clothing in China, China Drama Publishing House, 1984, p. 18. There are no images handed down in the first twelve chapters. Now we can see that the earliest twelve chapters are the portraits of emperors in lacquer painting screen of Sima Jinlong's tomb in Datong, Shanxi, and the images of emperors depicted in Dunhuang murals in Gansu, but they are incomplete. The material object is Ming Shenzong silk reeling clothes unearthed in Dingling, which consists of twelve chapters.

Dragon pattern is also a special pattern theme in the emperor's clothing. According to historical records and archaeological excavations, dragon patterns were used in emperors' costumes at the latest in Liao Dynasty. In the Yuan Dynasty, the five-claw dragon was dedicated to the emperor's clothing, while the smaller three-claw dragon could still be used in general occasions. Since the Ming Dynasty, there have been differences between five-claw dragons and four-claw pythons, as well as flying fish and bullfighting, which are very similar to dragons. Except for five-claw dragons, pythons, flying fish and bullfights, they are all used to give clothes.

In addition to pattern, color is also an important factor to distinguish grades. In the history of the Qin Dynasty, the sacrificial clothing was still black, the Western Han Dynasty was still yellow, and the Eastern Han Dynasty was still red. But in the Han dynasty, according to the different seasons, the colors of costumes were different. And service record: The five-hour colors are Chun Lv, Xiazhu, Xiahuang, Qiubai and Winter Black. Purple is generally for guests to feast and live in, while green is often served by the people. When Tang Gaozu wears red and yellow robes, it is forbidden for his subjects to wear red and Huang Zhi colors, and it is stipulated to wear purple silk and silk with three or more products; Take more than five pieces of scarlet silk, twill and silk; Take yellow silk cloth, miscellaneous Suu, woven and double strand for more than six items. Emperor Taizong ordered Qipin to wear green and tortoise shell inlaid with giant ten-flowered silk, and Jiupin to wear green silk cloth and miscellaneous Suu. Book of Old Tang Dynasty (Volume 45) recorded Yu's Fu. Generally, the four colors of purple, red, green and cyan can determine the grade of official products. This practice began in the Sui and Tang Dynasties. The color grade of the official uniforms in Song Dynasty is the same as that in Tang Dynasty, but there are brocade patterns on the official uniforms. The first class uses the joy of the world, the second class uses four sets of exquisite brocade, the third class uses yellow lion brocade, the fourth class uses green capillary brocade, the fifth class uses red brocade, and the rest are given narrow brocade robes, including, Yinan, Yunyan brocade, lion, practicing magpie, Bao brocade and Bao brocade.

During the Ming and Qing Dynasties, civil and military officials used complements to express grades. In the twenty-fourth year of Hongwu (139 1), it was stipulated that the pattern grades of military uniforms were: "Gong, Hou, Xu, Bo, Embroidered Kirin and Bai Ze. Civil servants are first-class cranes, second-class golden roosters, third-class peacocks, fourth-class clouds, fifth-class egrets, sixth-class egrets, seventh-class orioles and ninth-class quails; Miscellaneous magpies; Feng Xianguan; The military attache has one product, two lions, three products, four tigers and leopards, five bears, six products, seven tigers, eight rhinos and nine seahorses. " "History of Ming Dynasty" Volume 67 "Annals of Imperial Government III". There are two kinds of tonics in Qing Dynasty: round tonics and square tonics. Round tonics are mainly dragons and pythons, which are used by princes and nobles. The measured steps are used by officials. Among them, civil servants: first-class crane, second-class golden pheasant, third-class peacock, fourth-class goose, fifth-class silver pheasant, sixth-class egret, seventh-class quail and ninth-class sparrow; Military attache: unicorn, lion, leopard, tiger, bear, tiger, rhinoceros and seahorse.

In addition to official clothes, the color of silk fabrics is also used to distinguish grades and determine etiquette. Agriculture, industry, commerce, Buddhism, Taoism and Confucianism also have their own specific costumes.

Silk is also widely used in religious occasions. Both Buddhist temples and Taoist temples are always covered with colorful silk. According to Galand in Luoyang, when Song Yun and Sheng Hui went to the Western Regions, Buddhist courtyards along the Silk Road were always covered with colorful flags, and there were thousands of them. At that time, this kind of banner with the Buddha on its cover was called "Xiu Xiang". This kind of Xiu Xiang is called "Thangka" in Tibetan Buddhism. Today, a large number of Thangkas are still preserved in Tibetan Buddhist temples in Tibet and Qinghai.

Four. Silk and customs

China's long silk history has also had a great influence on folk customs. From the "Silkworm Poetry" written by Wang Jian in the Tang Dynasty, we can already see some contents: "The silkworm wants to be old, and the foil is full of cocoons." The fields are wide and windy, and wormwood is not dry in the atrium. Silkworm is anxious to make it melodious, and it has sacrificed mulberry for you for many years. But it doesn't rain in the blue sky, there are no flies on the ground and no mice under it. The bride worships the cluster and wishes the cocoon to be thick, the woman sprinkles peach pulp and the man plays drums. On the third day, a snow ball will be held as a foil, and the new cocoon will be given to the county magistrate first. I heard that the village urged me to knit. Who should I wear it with? "During the Ming and Qing Dynasties, the customs around Hangjiahu, a famous sericulture town, were more colorful.

In ancient times when science was underdeveloped, people pinned their hopes for a bumper harvest on the blessing of the gods, so they carried out various sacrificial activities. According to historical records, from the Zhou Dynasty more than 3,000 years ago, the imperial rulers attached great importance to offering sacrifices to the silkworm god. There were silkworm altars in the palaces of past dynasties for the queen to worship when she kissed silkworms. Before sericulture, a cow should be killed to worship Lei Zu, the silkworm god. The ceremony is very grand. The same is true among the people, and the worship of silkworm god is the most important activity in the custom of silkworm township. In addition to offering sacrifices to Lei Zu, according to local customs, all localities should offer sacrifices to the silkworm god, including those to the silkworm mother, the queen silkworm flower, the third aunt silkworm and the five saints of silkworm flower and the Tsing Yi god. The places where people worship silkworm gods are not exactly the same. Some have built a special silkworm temple and a silkworm king temple, some have carved silkworm statues in the temples of Buddhist temples or beside the bodhisattvas they worship, and some silkworm farmers have built shrines on the walls to worship the "sacred books" printed with silkworm statues.

Silkworm rearing generally started around Tomb-Sweeping Day. In Huzhou, Zhejiang Province, there was a grand event of rolling silkworms and rowing dragon boats, which was actually a mental adjustment and preparation for silkworms before sericulture. It is also a health and epidemic prevention measure to break the worship of silkworm gods before sericulture, that is, to use various gods, symbols or other spells to drive away all ghosts, viruses and pests harmful to silkworm. When raising silkworms, the door of the silkworm house tells each other with red paper that they are not in contact with each other, which is called "closing silkworms". Silkworms sleep three times, commonly known as "fire". At this time, the cocoon harvest is a foregone conclusion. Silkworm farmers make a kind of rice dumplings called "cocoon rings" to worship the silkworm god. When silkworms go up the mountain to cocoon, silkworm farmers can open the door and walk around, which is called "opening the door for silkworms". Relatives also give each other pig's trotters, fresh fish, flowers and fruits, cakes and other foods, and ask about the silkworm harvest, commonly known as "watching silkworm newspaper". Before and after the Dragon Boat Festival and Xiaoman, silkworm farmers often hold some celebrations, such as Huzhou calling it "thanking silkworm flowers" and Deqing calling it "eating silkworm flowers".

There are many taboos in sericulture. The miscellaneous taboos of silkworms in Wu Benxin's book in Jin Dynasty are: "Do not eat wet leaves, do not eat hot leaves. When silkworms are born, avoid sweeping dust indoors. Avoid frying fish. Don't twist fireworks paper in the silkworm room, blow it out. Avoid left-right collision. Avoid knocking on doors, windows, hammers, foils and anything with sound. Avoid crying in the silkworm room. Avoid foul language and obscene words. At night, no light shines on the window of the silkworm house. Pregnant women under the full moon should not be silkworm mothers. Mother silkworm should not change clothes often, but wash her hands long (often). Avoid people who bring wine to cut mulberry, feed silkworm, lift silkworm and divide silkworm. Silkworms live forever, so don't smoke. Don't put the knife on the stove or tin foil. Avoid hot soup and dust removal in front of the furnace. Avoid pregnant women and dutiful sons from entering the home. Avoid burning skin, hair and hair. Avoid alcohol, vinegar, spices, cockroaches, cockroaches, musk and other things. " What is forbidden in this paper is more scientific, and now there are such taboos in silkworm towns. There are also many language taboos in Jia Hu, such as "bright" and "sauce", because bright silkworms and stiff silkworms are silkworm diseases, and so on.

The related industries of silk production also have their own production customs, offering sacrifices to the invention gods of all walks of life. For example, the ancestor of silk industry is Xuanyuan of the Yellow Emperor, and there is also Xuanyuan Palace in Suzhou, which is the ancestor of Suzhou silk industry. The founder of dyeing and weaving industry is Ge Hong of Jin Dynasty. Geweng Dyeing Stone Tablet was unearthed near Baopu Road Garden in Geling, a scenic spot in Hangzhou. Workers from Hangzhou Printing and Dyeing Factory come here to worship every year. The founder of embroidery industry is the Gu family of Shanghai Lvxiang Garden. Although it is late, it is also highly respected by Suzhou embroidery workers.