“An official from Chang’an gave me an exquisite piece of green brocade.” Recently, Huang Yanni from Macao and her Hong Kong schoolmate Liang Yawen, students at Nanjing University of Aeronautics and Astronautics, traced the roots of Chinese brocade, guided by He Guanyi, a young man from Taiwan, China, Director of Brand Center, Nanjing Yunjin Brocade Museum.
Video:https://youtu.be/vk0t3VqI7ug?si=A-aKyA9rKY77jp-e
Masterful Craftsmanship in an Imperial Dragon Robe, An Over-1,000-Year Technical History in the 17-Meter Fabric
As they entered the museum’s exhibition hall, the two girls were immediately drawn to a restored piece of Zhuanghua (Patterned Weaving)-Gauze Dragon Robe with Full-Length Sleeves and Dragon Roundel, which belonged to Emperor Wanli of the Ming Dynasty. “These patterns are so exquisite; it’s as if they were painted directly onto the fabric. I can’t find a single seam!” Liang Yawen marveled. With a smile, He Guanyi explained that the 17-meter-long dragon robe demanded 1,840 warp threads and 120,000 weft threads. Using the Zhicheng (woven-to-shape) technique, the weavers wove the complete patterns for the robe’s front, back, collar, and lapel onto a single length of fabric. “In ancient times, having any seams in a dragon robe was strictly forbidden. The technique exemplified the ingenuity of our ancestors.”
What truly amazed them was that the craft behind this Zhuanghua-gauze dragon robe had once been lost. “To restore it, we not only re-studied the patterns but also rebuilt the loom.” He Guanyi said with pride. “It took years of effort to revive this superb technique.” Huang Yanni admired: “I never imagined so much artistry could be woven into a single fabric. It’s a ‘landscape born of human hands’.” In the weaving-experience area of the museum stood a large Hualou (wooden draw loom), 4 meters in height, 5.6 meters in length, and 1.4 meters in width. “It takes two skilled weavers to operate this loom.” He Guanyi explained, pointing at it. The weaver above would draw the patterns and transfer them into warp threads. Each action created a distinct opening in the warp. Meanwhile, the weaver below adopted the techniques of Wahua (weft patterning) and Panzhi (coiling), and skillfully integrated colors into Yunjin Brocade.
“The weavers worked eight hours a day but can only weave 5 to 6 centimeters of brocade.” He Guanyi’s remarks sounded incredible to them. “So it’s true that an inch of brocade is worth an inch of gold. This isn’t just fabric—it’s time and skill woven into thread.” When they were talking, the reverse side of Yunjin Brocade was coming into view on the loom. Abstract patterns were taking form, as the weavers were working together. “What we see now is not the final appearance; the true design will only be revealed when the piece is turned over after weaving.” He Guanyi noted. “It was the enduring commitment of our artisans that carried Yunjin Brocade forward through time.”
A Dialogue of Craftsmanship Across Three Regions: Cultural Resonance in Patterns
After admiring the diverse Yunjin collections in the museum, the two girls reflected on the unique traditional crafts of their hometowns.
He Guanyi spoke of the three famous brocades in China, i.e. Nanjing Yunjin Brocade, Sichuan Shujin Brocade, and Suzhou Songjin Brocade. All of them possessed a long history and outstanding craftsmanship. In his hometown, Taiwan, China, there is also a distinctive textile known as Gaoshan Brocade, which embodies the unique wisdom and aesthetics of the local ethnic groups. “Albeit different in patterns and techniques, the four brocades all represent the ancient artisan’s ultimate pursuit of details.”
“Does Gaoshan Brocade also feature dragon and phoenix patterns like Yunjin Brocade?” He Guanyi smiled and answered the question: “The Gaoshan people in Taiwan prefer to weave patterns closely tied to daily life, such as the hundred-pace-snake pattern, a symbol of their guardian, or patterns on pottery jars.”
He Guanyi then guided them to a display case. Pointing at a replica of the Paired- Bird-and-Paired-Ram-Pattern Brocade in the Wei, Jin, and Southern and Northern Dynasties, he added that Yunjin also wove patterns that carried beautiful aspirations. “This piece of brocade features a golden background with pairs of orange-red birds facing each other, their beaks holding interlocking-scrolling-leaf pattern. Below them, blue pairs of rams with rounded horns are symmetrically arranged, their patterns balanced in density and spacing.”
He Guanyi elaborated on the profound meaning of these patterns. In the Wei, Jin, and Southern and Northern Dynasties, the Silk Road flourished. The pair-bird pattern, shaped by the Western Regions culture, emblematized harmonious pairing and auspicious happiness. In ancient Chinese language, the character Yang for ram sounded like Xiang, representing blessings and well-being.
“We have known the dragon pattern, the phoenix pattern, and the paired-bird-and-paired-ram pattern of Yunjin, as well as the hundred-pace-snake pattern or the patterns on pottery jars of Gaoshan Brocade in Taiwan. Although their patterns and techniques differ, all are infused with a profound love for life. This very spirit is our shared cultural heritage.”
“It’s amazing that people millennia ago already wove their aspirations into textiles,” Liang Yawen concluded, “That’s a direct parallel to how we like to print auspicious patterns on cultural products today.” Huang Yanni nodded in agreement: “What a romantic metaphor—to wear one’s hopes. This is deeply embedded in our cultural identity.”
In September 2025, Modern Express launched the “Bond with Treasures: Cross-Strait Youth National-Treasure Recommenders Co-Creation Initiative”. This visit to Yunjin Brocade was one event under this initiative. The three young people come from Hong Kong, Macao, and Taiwan. Through an immersive experience, they touch the millennium-old Yunjin in its warp and weft; through threading and weaving, they feel the legacy of traditional culture. This cultural resonance enhances the recognition of national tradition among the youth across the Strait.