The inheritor of Xinjiang’s wooden stamping technique: making intangible cultural heritage “alive”
“Everyone can give it a try. It is easy to get started and easy to operate…” Recently, at the intangible cultural heritage market in the Grape Valley Scenic Area, Turpan City, Xinjiang, Pa Lidan, the inheritor of Uyghur tapestry and printed cloth weaving and dyeing techniques, ·Maimaiti warmly invites passing tourists to experience the intangible cultural heritage items and feel the charm of the wooden stamping technique.
Prepare the wooden mold, lay it on homespun cloth, and mix the paint… After the initial work is completed, Paridan Maimaiti hands over the wooden mold to each visitor who experiences the project, allowing them to print their favorite prints on the homespun cloth. picture of. Watching the tourists carefully printing patterns, Paridan Maimaiti said with a smile: “I have performed these steps tens of thousands of times, but as long as I see someone liking these intangible cultural heritage projects, I am happy from the bottom of my heart. ”
Wooden mold stamping technique is to use wooden molds with carved patterns, dip them in various natural plant and mineral dyes, and stamp them onto hand-woven earth-white cloth, so that a variety of different patterns are combined together to form colorful calico. According to statistics, wood stamped printed cloth has more than one hundred patterns, which are eclectic and colorful.
In 2004, Paridan Maimaiti fell deeply in love with this technique after seeing the patterns stamped with wooden molds for the first time. With the support of her family, she went to the Hotan area alone to learn the art from a teacher. Through careful study, practice, and careful consideration, she finally mastered the art of making stamped printed cloth.
“The entire process of this technique is generally divided into carving wooden molds, making dyes, selecting fabrics, pre-processing, printing, rinsing, etc. The mold stamps follow certain rules and are matched into different patterns through different combinations. Finally, printed fabrics with different styles are formed. Printed fabrics are made into tablecloths, curtains, tapestries, etc., and are deeply loved by everyone,” said Paridan Maimaiti.
In 2006, Uyghur tapestry and printed cloth weaving and dyeing techniques were included in the first batch of national intangible cultural heritage lists. In order to protect and inherit this intangible cultural heritage, relevant departments have established a Uyghur tapestry and printed cloth weaving and dyeing skills studio in the tourist cultural and creative district of Turpan Museum, which is provided free of charge to Palidan Maimaiti for her to use. can better promote and inherit this intangible cultural heritage.
Nowadays, Paridan Maimaiti not only carries out intangible cultural heritage research activities to bring intangible cultural heritage into communities, campuses and other places, but also develops and expands the team of intangible cultural heritage inheritors through recruiting apprentices and teaching skills. Let this intangible cultural heritage be passed down from generation to generation.
“In recent years, Turpan has promoted the in-depth integrated development of intangible cultural heritage and tourism, which has not only enriched the tourism supply, but also enabled intangible cultural heritage to enter thousands of households through the tourism market. Next, I want to use the Internet platform to On the basis of displaying the intangible cultural heritage, we will help the sales of intangible cultural and creative products and make the intangible cultural heritage ‘alive’ and ‘fashionable’.” said Paridan Maimaiti.
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