这次的概念系列用了一种“粗暴”的方式，将几千颗金属四方螺母，分别穿入夏布纱线中，同样的三件夏布长袍，由于螺母的重量，呈现出了完全不同的轮廓，几十公斤重的衣服亦改变了人体本来的姿态。“粗暴”，不仅仅是形容现代机器时代对古典人文时代的颠覆，也描述了近代人类对待自己共生之地的行径。布料不堪重负的样子，让我难过；而被拉扯的身体，仿佛残喘于工业文明罅隙里的原生文明，丧失了天然之姿。

夏布始于宋，是由手工织造的平纹苎麻布。苎麻大量产于中国，但不是所有苎麻布都能被称作夏布，真正的夏布有着极为复杂的织造工艺，没有破坏原有天然纤维结构，纱线细如蚕丝，成衣轻薄如羽，为皇室贡品。现在能作真正夏布的地方越来越少，人们已经无暇手制。在传统苎麻产地，当地人已经大量使用机器碾制纱线，虽然依旧以老式窄幅织布机手工纺布，也不过是要用“手工布”作为商业噱头。虽称夏布，实仅余一个传统的空壳。

虽然在媒体上常有人讨论传统手艺的消失，当时也只是觉得惋惜，或现实地认为那些手艺就是要被时代淘汰的。但当我亲手触到夏布，并把她缝制成衣，才突然意识到，有些东西，不论放在哪个时代，都是无可替代之物。她们在阳光下不时折射的光芒就像是汩汩长河，流淌了几亿年；随着人体行走不断变化的轮廓，让人只想久久地看下去，忘记现世喧嚣。，隐入阴影中。

万物有灵，静心可观。

中间夏布长袍穿入了2000颗方型螺母，约十公斤重；右侧长袍穿入4000颗，约二十公斤重。

The middle long robe made in summer fabric was sewn with 2000 square nuts, that measures approximately ten kilograms, the long robe on the right was sewn with 4000 nuts, that measures approximately 20 kilograms.

Artistic line Hua “Crack”

This conceptual line has adopted a “crude” approach that threaded thousands of metallic square nuts in the weaving of the summer fabric. The varying weight of the nuts have configured the three identical summer long robes into different forms, and the weight of the clothes has thus changed the inherent shapes of the human body. “Crude” is not only used to depict the subversion to the modern industrial era versus the classical civilization, but is also used to describe the path on which the contemporary inhabits. The fabric’s inability to bearing such responsibility saddens me; and the struggling body seems to be the primitive culture fallen into the cracks of the industrial civilization that has lost its intrinsic posture.

The Summer fabric originates in the Song dynasty, is a hand woven plain ramie cloth. Ramie is largely produced in China, yet not all ramie cloth may be called summer fabric, because true summer fabric requires rather complex weaving craftsmanship without damaging its natural fiber structure. Its yarn is as refined as silk threads, and the finished cloth is as thin as feathers, that was once used as tributary articles to the emperors. Nowadays, there are very few places and individuals who can produce the true summer cloth, especially that the contemporaries no longer value the craftsmanship. In traditional regions where ramie was produced, the locals have already began to used machines to weave yarn, although they are still using the old style weaving machine to make the cloth, yet the “hand-woven clothes” is now only a commercial stunt. They are called the summer cloth, it is only an empty shell of tradition.

Even though media reports on the disappearance of traditional craftsmanship might have provoked my sympathy, or believe that those craftsmanship would eventually be replaced with time. However, when I have woven summer clothes and have made it into clothing, have I suddenly realized that no matter when an object may have existed, it is indispensible. Their radiance under the sun is like a winding river, flowing for billions of years: as the body evolved into the walking figure, it propels one to look forward and forget the noises of mundane life.

All matters have a spirit, and in tranquility may one introspect the heart.

Text: Dooling Jiang
English Translation: Fiona He