Wang Qing Reed Mat

Wang Qing Reed Mat

　　Wang Qing Reed Mat

　　The history of reed mat weaving in the Wang Qing area can be traced back to the Spring and Autumn and Warring States periods. Wang Qing Village is located just north of the ancient city of Qi. This region features an extensive network of waterways, including the Xi River, Mian River, Hua River, and Kanglang River, crisscrossing the area. It is a fertile land abundant in rice, cattails, and reeds, often referred to as a “land of fish and rice.” The *Spring and Autumn Annals of Yanzi* records: “In Qi, there was a man from the northern suburbs named Saofu who set up nets and traps, bundled cattails and reeds, and wove shoes.” The *Guanzi · Disciples’ Duties* states: “Those who arrive late take the seat, those sitting in a narrow space should stand up.” “Respectfully offer the pillow and mat, and ask which foot is forward.” From this, we know that students at the Jixia Academy sat on mats during lectures, and teachers slept on pillows with mats at night. Archaeological findings from ancient tombs show that during the Spring and Autumn and Warring States periods in Linzi, coffins were often covered with reed mats on top of the outer coffin, which were then sealed with lacquer. All of these indicate that during the Spring and Autumn and Warring States periods, people in this area not only began using cattails and reeds to weave mats and straw shoes but that reed mats had also become an essential item in daily life.

　　After Wang Qing was established as a village during the Hongzhi reign of the Ming Dynasty, local residents took advantage of the abundant high-quality reeds in the region and inherited the local weaving traditions. They began making a living by weaving reed mats and continuously improved the traditional weaving techniques, enhancing the technical sophistication of the craft. Wang Qing mats are not only aesthetically pleasing, durable, and comfortable but also come in a wide variety. There are over ten types, including bed mats, kang mats, border mats, cool mats, and pillow mats. Weaving reed mats became the primary livelihood for the people of Wang Qing.

　　The craft of Wang Qing reed mat flourished during the Qing Dynasty and the Republican era. At that time, over 95% of households in Wang Qing were engaged in the reed mat weaving industry. Children, both boys and girls, started learning the skill of mat weaving around the age of seven or eight. There was also a local custom that when children got married, a pair of Wang Qing mats had to be laid on the bridal bed. During the Xuantong reign of the Qing Dynasty, the Qionglin Temple in Qingzhou once invited skilled mat weavers from Wang Qing to weave mats for the main hall of the temple. The hall was as large as five rooms, and the mats woven fit the space perfectly without any discrepancy. These mats were edged with green reed strips, with a large “longevity” character woven in the center, surrounded by four cranes. Monks were amazed by the craftsmanship, and many worshippers praised it highly. In the second year of the Republic of China, the cool mats woven by Wang Tikang from Wang Qing Village (father of Wang Shiyi) were exhibited at the Shandong Agricultural Products Exhibition held by the provincial government in Jinan and received an award. A local saying goes: “Chai’s reed hats, Wang Qing’s mats, Yu’s straw shoes are truly indispensable.”

　　Wang Qing reed mats are generally made using four or five strands of split reed splints, featuring fine patterns. The front side is mostly free of reed nodes. The edges are never double-stitched or double-pressed. Once completed, the mats achieve a perfect balance of flexibility and firmness, with excellent color and form, and are both solid and durable.

　　The tools used for weaving reed mats include splitters, rollers, stripping knives, chopping knives, and threading knives. The splitter is used to divide the reeds. Depending on the number of splits, they are categorized into two-way, three-way, four-way, and other types. The roller is made of bluestone, approximately 90 cm long and 60 cm in diameter, slightly thicker in the middle, and used to soften the split reeds. The stripping knife is made by diagonally inserting a sickle into a sorghum stalk and is used to remove the outer leaf sheath from the flattened reed splints. The mallet is made from a round piece of wood about 40 cm long and 15 cm in diameter, with one end tapered to form a handle and the other end thickened to serve as the striking head. It is used to flatten and soften the reed splints after the leaf sheath has been removed, turning them into a flat, board-like shape. The clamping knife is used to tighten the reed splints during the weaving process. The threading knife is used to interweave the ends of the reed splints when finishing the edges of the mat.

　　The main raw materials are various types of reeds, including soft reed, large reed, small reed, and brocade reed. Soft reed is tender, not easily broken, white in color. Large reed is thin, hard, and yellowish-white. Small reed is thin, hard, and yellowish-white. Brocade reed is a premium type of reed produced in the Mian River, characterized by its tall stalks, uniform thickness from top to bottom, and a stem that is white with a hint of yellow, free from discoloration, with a glossy surface. It is produced in the Mian River basin areas of Wang Qing, Shaojia, and Xishi. The reed splints processed from “brocade reed” are thin, soft, and resilient, giving a silky feel similar to satin.

　　The production process of reed mats is divided into two main stages: preparation and weaving. The main steps in the weaving stage include selecting reeds: bundling the reeds and laying them flat on the ground, first picking the longer ones, then the slightly shorter ones, sorting them accordingly. Generally, to weave a double-bed-sized mat, about 100 uniformly thick, tall reeds are selected, supplemented with some shorter reeds. Splitting the reeds: using the splitter to divide the reeds into several sections, these split sections are called raw splints. Soaking the splints: spraying water onto the raw splints. Pressing the splints: placing the moistened and softened splints on the pounding ground and repeatedly rolling them with a roller to make them more pliable. Stripping the leaf sheath: using the stripping knife to remove the outer leaf sheath from the pressed splints. Pounding the splints: placing the stripped splints on a flat board and using the mallet to flatten and soften the nodes. At this point, the splints are fully processed and are called ripe splints. The main steps in the weaving stage include laying the base: also known as pulling the warp, starting from one corner of the mat, which is considered the main corner. Continuing the weave: the mantra is: “Press three, pick two, frequently pick four, weave sixteen strands along the radial and angular lines.” Adjust the splints to try to press the nodes downward, and use the chopping knife to tighten the splints as you weave. Finishing the edge: when the mat reaches the desired size, finish the edges. Pressing: lightly roll the finished mat with the roller for final pressing.