Yu Xiuzhi – Inheritor of Lisu Straw Plaiting-craft in Weixi County, Diqing 

Yu Xiuzhi (余秀芝), whose Lisu name is “Lungemi” (龙格咪), is a female artisan born in November 1983 in Tongle Village (同乐村), Yezhi Town (叶枝镇), Weixi County (维西县), Diqing Tibetan Autonomous Prefecture (迪庆藏族自治州), Yunnan Province (云南省). From an early age, she showed intelligence and dexterity, excelling in the technique of wheat straw weaving. Her works are deeply loved by the villagers.

Yu Xiuzhi not only mastered this traditional craft herself but also led dozens of villagers in engaging in straw weaving, hoping to pass down the ethnic culture through craftsmanship and bring these handmade goods out of the mountains and into the world.

She learned her straw weaving skills from an elder named Wasami (哇洒咪) in her village. Impressed by her intelligence and nimbleness, the elder chose to teach her the intricate techniques. While helping her family with farm work, Yu also diligently practiced weaving. Her skills gradually refined, and her crafts became well-known in the village. Her creations are both practical and artistically valuable, and she has been featured in several media interviews.

As a representative inheritor of a provincial-level intangible cultural heritage project, Yu Xiuzhi actively fulfills her role by taking on apprentices and participating in cultural events, helping more people learn about Lisu culture. Her dedication has allowed this ancient craft to thrive and has made a vital contribution to the preservation of Lisu cultural heritage.

Features of Lisu Straw Weaving Craft

Lisu straw weaving is a unique traditional handicraft with distinct ethnic characteristics and rich cultural meaning. Below are its main features:

Material Selection

  • Natural Materials: The primary materials used in Lisu straw weaving include wheat straw, dry grass, and willow twigs. These natural elements are environmentally friendly and possess a unique texture and aesthetic.
  • Firegrass Fiber: In some regions, firegrass is also used. Firegrass is a wild plant that grows in the mountains, and the white fuzz on the back of its leaves can be spun into thread. When woven with hemp, it forms firegrass cloth, which is soft, white, durable, and suitable for both summer and winter wear.

Crafting Techniques

  • Complex Procedures: The weaving process involves multiple intricate steps, including selecting materials, soaking, tearing, rolling, kneading, boiling, bleaching, spinning, and weaving.
  • Double-Shuttle Weaving: Lisu women often use a double-shuttle technique, alternating between hemp thread and firegrass thread. This results in fabric that is both aesthetically pleasing and sturdy.
  • Delicate Handwork: Each step requires high levels of craftsmanship and patience. For example, spinning the threads demands precise control of strength and technique to ensure uniform thickness.

Artistic Value

  • Rich Patterns: Lisu straw weaving often features diverse patterns such as the sun, moon, stars, flowers, and plants. These motifs are not only decorative but also express the Lisu people’s reverence for and connection to nature.
  • High Decorative Quality: The woven items are not only functional but also highly ornamental. One example is the Amushulu (阿目数吕), a straw-woven decorative item used to adorn traditional clothing.

Cultural Significance

  • Transmission and Preservation: This craft is an integral part of daily life and a vessel of cultural transmission. It is preserved and passed down through generations.
  • Social Status: In Lisu society, women who master straw weaving are held in high esteem. Their creations are valued not just as tools but as works of art.

Balance of Practicality and Beauty

  • Functional Use: Straw-woven products are highly practical and can be used to make clothes, bags, fishing nets, and other everyday items.
  • Aesthetic Appeal: These items are not only useful but also artistically impressive, often used for decoration and exhibition.

Inheritance and Preservation

Inheritors like Yu Xiuzhi not only excel in their craft but also actively teach and promote it through apprenticeships, cultural participation, and media outreach, introducing more people to this traditional art form. To preserve this intangible cultural heritage, local governments and cultural institutions have implemented various measures, including training programs and heritage listings.

Thanks to these efforts, Lisu straw weaving continues to flourish in the modern era, ensuring the craft’s transmission and sustainable development for future generations.

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