Qingcheng Bamboo Weaving

Qingcheng Bamboo Weaving

Qingcheng bamboo weaving is a protected geographical indication product.

Qingcheng bamboo weaving is a certified geographical indication trademark.

　　Qingcheng bamboo weaving has a long and storied history. Though the exact origins remain uncertain, research indicates that during the Warring States period, when Li Bing and his son were managing water control projects, the ancestors of Qingcheng County were already using bamboo to weave baskets and nets for stone dam construction along the Min River. Historical records show that by the Tang and Song dynasties, practical bamboo woven items for daily life and production were already in use. By the Ming dynasty, bamboo weaving began evolving into an art form, featuring geometric patterns and ancient decorative thick-line designs in everyday crafts. The rainbow bridge depicted in the “Along the River During the Qingming Festival” painting was designed by Chen Xiliang (a Song Dynasty official) from Qingcheng. By the time of Su Dongpo, various forms such as square, round, and oval had emerged. By the mid-Qing dynasty, bamboo weaving craftsmanship had reached a certain level of sophistication, as evidenced by the “Longevity” palace fan woven by Yuan-family artisans from Qingcheng, which is still displayed in the Shenyang Imperial Palace today.

　　During the Anti-Japanese War, the bamboo hats from Guanjing Township, the summer mats from Luowan Township, and the grain storage liners (for holding grains and other items) from Tianmiao Township not only enjoyed a strong reputation and wide sales in neighboring counties and prefectures, but also featured anti-war slogans woven into the hats and fans, such as “Drive out the Japanese invaders” and “Give us back our rivers and mountains.”

　　By the late 1970s, with the tide of reform and opening-up, a large number of artisans with high cultural and artistic literacy — such as Hu Zihai, [Name], Yin Chao, [Name], Li Jianhua, and Luo Huacan — emerged. These individuals were committed to innovating traditional bamboo weaving techniques. Pooling their skills and ingenuity, they strived for excellence, opening up new prospects for bamboo weaving to meet market demand. They elevated bamboo weaving to a level where it served both practical and aesthetic purposes, and even to a high-end purely artistic tier. In three-dimensional woven categories, emphasis was placed on refinement, delicacy, elegance, and beauty in items such as screens, hanging scrolls, horizontal scrolls, couplets, and fans. As a result, bamboo weaving entered the realm of art, drawing attention both in China and abroad.

　　Following the 1984 display of the large-scale Qingcheng bamboo weaving artwork “Leshan Giant Buddha” at the United Nations headquarters, a series of exquisitely woven bamboo fans by Yin Chao, artworks like “China’s Four Great Beauties,” “One Hundred Longevity Symbols,” and pieces from Lianzhong Bamboo Weaving Factory such as “The Eight Immortals,” “Immortals and Buddhas Album,” and “Folding Hats,” as well as works from [Name] and Zhongyan Bamboo Weaving Factory — including “China’s One Hundred Emperors,” “Nine Dragons Screen,” “One Hundred Children Screen,” and the large, finely woven scroll “Along the River During the Qingming Festival” — were created. These masterpieces, as thin as cicada wings and smooth as silk, were met with continuous acclaim and numerous awards, leaving the world in awe.

　　In the spring of 1988, a giant bamboo weaving dragon that integrated three-dimensional and flat elements, created by cultural officials including Zhonghe and bamboo weaving masters like Yin Chao, was showcased in international cultural exhibitions and performances in Leshan, Meishan, Chengdu, Hainan, Beijing, as well as in Thailand and Singapore. The event lasted over ten days and achieved tremendous success each time. It also won the Gold Award at the Third China Art Festival.

　　In the spring of 2000, Qingcheng bamboo weaving was presented as a premium gift to representatives of various countries during the groundbreaking ceremony of the International Bamboo and Rattan Organization headquarters. Today, Qingcheng has over 14,000 households and more than 29,200 people directly engaged in bamboo weaving, with continued growth momentum. Qingcheng bamboo weaving has been sold and renowned in over 50 countries and regions across Europe, America, Australia, and Southeast Asia. It has been hailed as “a marvel of Chinese folk art” and “art within art.”

　　The production area of Qingcheng bamboo weaving covers the entire administrative region of Qingcheng County, Sichuan Province.