Chapter 640
Those who weave yarn are weavers.
In other words, when he came in this time, he wanted to learn textile skills.
After realizing this, Li Yi felt very depressed.
Say it early!
If I had known about it, I would have bought some textile books to read.
Fortunately, he has read so many books on carpentry, isn't it in vain?
Sighing, he collected his thoughts and gave up complaining.
If he comes, he will be safe, since he is here, then he will find a way to master the skills earlier and go back sooner.
Anyway, it's not the first time for him, he's already used to it.
But this time, how long will it take for him to go back?
……
In the space of the eight-sided monument, Li Yi's figure slowly emerged.
He pressed his hands in front of him, as if he was combing something.
But after seeing the eight-sided monument in front of him, his expression became stunned, and then he exclaimed: "No!"
Hearing a man's voice coming out of his mouth, he was taken aback for a moment, and then his expression became complicated.
Memories began to peel away. Feeling this familiar sense of alienation, he couldn't help but tighten his fingers.
He never expected that it would actually take him a full 50 years to come out of the space this time.
But why now?
Just like his analysis, the woman he possessed this time was named Chang Ping, and she was one of the weavers who accompanied Gong Heng as a hostage to the state of Chu.
The exquisite silk brought by these weavers also opened up the brilliance of the Chu people's silk industry, and at the same time indirectly shaped the Chu people's cultural character of pursuing romance and individuality.
As the Chu State became increasingly prosperous, silk entered the lives of many Chu people.
The Chu people, who originally called themselves barbarians, did not stick to one pattern.
The bold Chu people also used their whimsy and acceptance to create the highest aesthetics of that period.
Chu people can accept clothing in countless colors, and even the most basic red can be divided into many colors such as deep red, vermilion, orange, red and brown.
One of the most classic collocations is "Qingyun Yixibai Nishang" written by Qu Yuan, a native of Chu in later generations, in "Nine Songs".
Because of this acceptance, the weavers have also made many innovations in materials.
In the past few decades, they have developed more than ten kinds of fabric materials such as damask, silk, silk, satin, spinning, yarn, gauze, crepe, silk, Ge, tweed, velvet, brocade, and silk.
Chu people are also very fond of these fabric materials, especially the thin and elegant Zen clothes.
Just like what Qu Yuan wrote in "Calling the Soul", "The clothes are thinner, more beautiful but not strange".
In terms of accessories, Chu people also have their own preferences.
"Ren Qiulan thinks it's adorned", "serves Ai Yiying's essentials", "relieves thin and miscellaneous vegetables", "He Qiongpei's Yanxi", from orchid mugwort, to green bamboo and jade, can all be accessories for Chu people .
This free aesthetic also influenced Qu Yuan, Li Bai and countless people in later generations.
Even the Hanfu of later generations was modified from the Chufu of that year.
In the space, Li Yi has personally experienced this aesthetic evolution process, and is the main driving force behind it.
When he started learning weaving, he discovered that weaving was not that difficult.
To put it bluntly, weaving is to weave silk threads horizontally, vertically, obliquely, etc., and finally gather them into a whole piece of cloth.
This process is almost the same as bamboo weaving.
Their various fancy weaving methods have the same principles.
It can even be said that weaving is bamboo weaving in which silk thread is used instead of bamboo thread.
Of course, the two cannot be confused.However, in Li Yi's view, all laws have common principles.
Li Yi was originally a master of bamboo weaving, as the saying goes, one method is mastered, and ten thousand methods are mastered.
It didn't take long for him to start learning, and he has become a very good weaver.
And most of the time in his learning process was spent learning how to operate that old-fashioned weaving frame.
Originally, he thought that after mastering the weaving of all materials, he could return to reality.
But he waited year after year, but he never got the chance to return.
Because of his previous experience, he was not in a hurry, but looked for a way to break the situation.
He knew that once he met the opportunity to return to reality, he would definitely be able to return.
But he had to find this opportunity first.
Based on his experience last time, he believes that the most likely reason is that his skill has not reached its peak.
Just like last time, the opportunity arose after he developed his bamboo weaving skills to the limit.
His problem is that he has not yet developed his skills to their limits.
But he has tried all materials and textile methods. If he still wants to improve, he can only find a way from the perspective of productivity.
Since he started learning weaving, he has discovered that the weaving tools used by weavers are too primitive.
They use a primitive waist machine.
It is two crossbars at the front and back, tied around the waist of the weaver with a belt.
There is no bracket at a fixed distance between the two crossbars. When weaving, the weaver sits on the ground and uses the position of his feet and the waist to control the tension of the warp.
Then use a warp dividing stick to divide the warp threads into upper and lower layers to form a natural shed.
Then use a bamboo heald rod to vertically pass through the upper warp yarns from the upper warp yarns, and hang the lower warp yarns one by one.
In this way, by lifting the warp dividing stick by hand, the positions of the upper and lower layers can be reversed to form a new weaving gap for the next weaving.
Weavers call the place where the upper and lower warp yarns meet heddle, and the so-called synthesis comes from here.
This kind of waist machine is very troublesome to use. After passing the weft yarn through the weaving hole, it is necessary to beat the weft with a wooden beating knife, which is very inefficient.
But even so, this is already a very advanced production technology and has always been kept secret.
If the army hadn't come to the city this time, Lu State would definitely not have passed this technology to Chu State.
However, in Li Yi's view, this kind of waist loom has nothing to do with the loom at all, it just uses the simplest two wooden sticks to support it, and the weaving work still depends on the physical and mental strength of the weaver.
Therefore, Li Yi decided to build a loom.
At this time, the carpentry books he read before entering the space came in handy.
He still remembered that some wooden machines were listed in those books, including the ancient loom, that is, the traditional weaving machine.
From looms, bamboo cage looms, bias looms, spinning wheels, to large jacquard looms, there are records in the book.
So, he made several models of machines out of bamboo, asked his mother to find an opportunity to dedicate them to the King of Chu, and successfully applied for research and development funds.
Subsequently, under his promotion, an industrial revolution was launched.
Seeing that the machine made can actually greatly improve the efficiency of weaving, the king of the Communist Party of Chu was overjoyed.
And he also discovered that the person who built these machines was not the old woman, but Chang Ping, who was possessed by Li Yi.
So, overjoyed, the king of the Communist Party of Chu made a decision to marry Changping, who was possessed by Li Yi, as his concubine.
He planned to imitate the Yellow Emperor's deeds of marrying Luozu as his concubine and aspire to dominate the Central Plains.
Li Yi was so frightened by this decision that he ran away all night. Finally, under the threat of Li Yi holding up a torch and declaring that he would die with the machine, the King of the Communist Party of Chu gave up this decision.
3
(End of this chapter)
Those who weave yarn are weavers.
In other words, when he came in this time, he wanted to learn textile skills.
After realizing this, Li Yi felt very depressed.
Say it early!
If I had known about it, I would have bought some textile books to read.
Fortunately, he has read so many books on carpentry, isn't it in vain?
Sighing, he collected his thoughts and gave up complaining.
If he comes, he will be safe, since he is here, then he will find a way to master the skills earlier and go back sooner.
Anyway, it's not the first time for him, he's already used to it.
But this time, how long will it take for him to go back?
……
In the space of the eight-sided monument, Li Yi's figure slowly emerged.
He pressed his hands in front of him, as if he was combing something.
But after seeing the eight-sided monument in front of him, his expression became stunned, and then he exclaimed: "No!"
Hearing a man's voice coming out of his mouth, he was taken aback for a moment, and then his expression became complicated.
Memories began to peel away. Feeling this familiar sense of alienation, he couldn't help but tighten his fingers.
He never expected that it would actually take him a full 50 years to come out of the space this time.
But why now?
Just like his analysis, the woman he possessed this time was named Chang Ping, and she was one of the weavers who accompanied Gong Heng as a hostage to the state of Chu.
The exquisite silk brought by these weavers also opened up the brilliance of the Chu people's silk industry, and at the same time indirectly shaped the Chu people's cultural character of pursuing romance and individuality.
As the Chu State became increasingly prosperous, silk entered the lives of many Chu people.
The Chu people, who originally called themselves barbarians, did not stick to one pattern.
The bold Chu people also used their whimsy and acceptance to create the highest aesthetics of that period.
Chu people can accept clothing in countless colors, and even the most basic red can be divided into many colors such as deep red, vermilion, orange, red and brown.
One of the most classic collocations is "Qingyun Yixibai Nishang" written by Qu Yuan, a native of Chu in later generations, in "Nine Songs".
Because of this acceptance, the weavers have also made many innovations in materials.
In the past few decades, they have developed more than ten kinds of fabric materials such as damask, silk, silk, satin, spinning, yarn, gauze, crepe, silk, Ge, tweed, velvet, brocade, and silk.
Chu people are also very fond of these fabric materials, especially the thin and elegant Zen clothes.
Just like what Qu Yuan wrote in "Calling the Soul", "The clothes are thinner, more beautiful but not strange".
In terms of accessories, Chu people also have their own preferences.
"Ren Qiulan thinks it's adorned", "serves Ai Yiying's essentials", "relieves thin and miscellaneous vegetables", "He Qiongpei's Yanxi", from orchid mugwort, to green bamboo and jade, can all be accessories for Chu people .
This free aesthetic also influenced Qu Yuan, Li Bai and countless people in later generations.
Even the Hanfu of later generations was modified from the Chufu of that year.
In the space, Li Yi has personally experienced this aesthetic evolution process, and is the main driving force behind it.
When he started learning weaving, he discovered that weaving was not that difficult.
To put it bluntly, weaving is to weave silk threads horizontally, vertically, obliquely, etc., and finally gather them into a whole piece of cloth.
This process is almost the same as bamboo weaving.
Their various fancy weaving methods have the same principles.
It can even be said that weaving is bamboo weaving in which silk thread is used instead of bamboo thread.
Of course, the two cannot be confused.However, in Li Yi's view, all laws have common principles.
Li Yi was originally a master of bamboo weaving, as the saying goes, one method is mastered, and ten thousand methods are mastered.
It didn't take long for him to start learning, and he has become a very good weaver.
And most of the time in his learning process was spent learning how to operate that old-fashioned weaving frame.
Originally, he thought that after mastering the weaving of all materials, he could return to reality.
But he waited year after year, but he never got the chance to return.
Because of his previous experience, he was not in a hurry, but looked for a way to break the situation.
He knew that once he met the opportunity to return to reality, he would definitely be able to return.
But he had to find this opportunity first.
Based on his experience last time, he believes that the most likely reason is that his skill has not reached its peak.
Just like last time, the opportunity arose after he developed his bamboo weaving skills to the limit.
His problem is that he has not yet developed his skills to their limits.
But he has tried all materials and textile methods. If he still wants to improve, he can only find a way from the perspective of productivity.
Since he started learning weaving, he has discovered that the weaving tools used by weavers are too primitive.
They use a primitive waist machine.
It is two crossbars at the front and back, tied around the waist of the weaver with a belt.
There is no bracket at a fixed distance between the two crossbars. When weaving, the weaver sits on the ground and uses the position of his feet and the waist to control the tension of the warp.
Then use a warp dividing stick to divide the warp threads into upper and lower layers to form a natural shed.
Then use a bamboo heald rod to vertically pass through the upper warp yarns from the upper warp yarns, and hang the lower warp yarns one by one.
In this way, by lifting the warp dividing stick by hand, the positions of the upper and lower layers can be reversed to form a new weaving gap for the next weaving.
Weavers call the place where the upper and lower warp yarns meet heddle, and the so-called synthesis comes from here.
This kind of waist machine is very troublesome to use. After passing the weft yarn through the weaving hole, it is necessary to beat the weft with a wooden beating knife, which is very inefficient.
But even so, this is already a very advanced production technology and has always been kept secret.
If the army hadn't come to the city this time, Lu State would definitely not have passed this technology to Chu State.
However, in Li Yi's view, this kind of waist loom has nothing to do with the loom at all, it just uses the simplest two wooden sticks to support it, and the weaving work still depends on the physical and mental strength of the weaver.
Therefore, Li Yi decided to build a loom.
At this time, the carpentry books he read before entering the space came in handy.
He still remembered that some wooden machines were listed in those books, including the ancient loom, that is, the traditional weaving machine.
From looms, bamboo cage looms, bias looms, spinning wheels, to large jacquard looms, there are records in the book.
So, he made several models of machines out of bamboo, asked his mother to find an opportunity to dedicate them to the King of Chu, and successfully applied for research and development funds.
Subsequently, under his promotion, an industrial revolution was launched.
Seeing that the machine made can actually greatly improve the efficiency of weaving, the king of the Communist Party of Chu was overjoyed.
And he also discovered that the person who built these machines was not the old woman, but Chang Ping, who was possessed by Li Yi.
So, overjoyed, the king of the Communist Party of Chu made a decision to marry Changping, who was possessed by Li Yi, as his concubine.
He planned to imitate the Yellow Emperor's deeds of marrying Luozu as his concubine and aspire to dominate the Central Plains.
Li Yi was so frightened by this decision that he ran away all night. Finally, under the threat of Li Yi holding up a torch and declaring that he would die with the machine, the King of the Communist Party of Chu gave up this decision.
3
(End of this chapter)
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