The weaver is the weaver.

In other words, when he came in this time, he wanted to learn the art of weaving.

After realizing this, Li Yi's mood was very depressed.

Say it early!

I knew that he would buy some textile books and read them.

It's good now, he has read so many carpentry books, isn't it in vain?

With a sigh, he gathered his thoughts and gave up complaining.

Since he came, he would find a way to master the skills as soon as possible and go back as soon as possible.

Anyway, it's not the first time for him, and he's used to it for a long time.

Only this time, how long will it take 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 combing for something.

But after seeing the eight-sided tablet in front of him, his expression became stunned, and he immediately exclaimed: "Don't! ”

Hearing a man's voice coming from his mouth, he was suddenly stunned, and then his expression became complicated.

The memories began to peel away, and he couldn't help but clench his fingers as he felt the familiar sense of alienation.

He never imagined that it would take him a full 50 years to get out of the space this time.

But why now?

As he analyzed, the woman he possessed this time was called Changping, and she was one of the weavers who went to Chu with Gongzi Gongheng as a hostage.

The exquisite silk brought by these weavers also opened the glory of the silk industry of the Chu people, and indirectly shaped the cultural character of the Chu people in pursuit of romance and individuality.

With the increasing prosperity of the Chu State, silk entered the lives of many Chu people.

The Chu people, who originally claimed to be barbarians, were already eclectic.

And the bold Chu people also used their whimsy and acceptance to create the highest aesthetics of that period.

The Chu people can accept countless colors of clothing, and even the most basic red can be divided into many colors such as crimson, vermilion, orange, and red brown.

One of the most classic collocations is the "Qingyun Clothes and White Ni Clothes" written by Qu Yuan of Chu in "Nine Songs" in the later generations.

Because of this receptivity, weavers have also made many innovations in terms of materials.

In the past few decades, they have developed more than 10 kinds of fabrics such as silk, Luo, silk, satin, spinning, yarn, silk, crepe, silk, kudzu, wool, velvet, brocade, silk, etc.

The Chu people are also fond of these cloth materials, especially the Zen clothes with light texture and elegant beauty.

Just like Qu Yuan wrote in "The Conjuring", "Being subdued by the text is fine, beautiful but not strange".

In terms of accessories, the Chu people also have their own preferences.

"Su Qiulan thinks that I admire", "Serve Ai Yiying to be Xi", "Untie the flat and miscellaneous vegetables", "He Qiongpei's Yanxi", from Lan Ai vanilla, to green bamboo and jade, can become the accessories of the Chu people.

This free aesthetic also influenced Qu Yuan, Li Bai and countless people in later generations.

Even the Hanfu of later generations was changed from the Chu costume of that year.

In the space, Li Yi has personally experienced this aesthetic evolution process, and is also the main promoter of it.

When he began to learn weaving, he realized that weaving was not that difficult.

To put it bluntly, weaving is to weave silk threads horizontally, vertically, diagonally, etc., and finally gather into a whole piece of cloth.

This process is almost indistinguishable from bamboo weaving.

Their various fancy weaving methods and principles are also the same.

It can even be said that weaving is bamboo weaving that replaces bamboo silk with silk threads.

Of course, the two are not to be confused.

But in Li Yi's view, the principles between them are all common.

Li Yi is a bamboo weaver, the so-called one law, ten thousand laws.

It didn't take long for him to start learning, and he had already become a very good weaver.

And most of his time in the process of learning was spent learning how to operate that old-fashioned weaving frame.

Originally, he thought that after mastering the weaving of all materials, he would be able to return to reality.

But he waited year after year, but he never waited for the opportunity to return.

Because of the experience of the last time, he was not in a hurry, but looking for a way to break the game.

He knew that once he was given the opportunity to return to reality, he would definitely be able to do so.

But he had to find this opportunity first.

Based on his last experience, he believes that the most likely reason is that his skills have not reached the extreme.

Just like the last time he developed his bamboo weaving skills to the limit, the opportunity appeared.

His problem is that he hasn't developed his skills to the limit.

But he has tried all the materials and weaving methods, and if he wants to improve, he can only find a way from the aspect of productivity.

From the time he began to learn weaving, he had already discovered that the weaving tools used by weavers were too primitive.

They use a primitive waist machine.

It is two horizontal logs in front and back, which are tied to the weaver's waist with a belt.

There is no bracket at a fixed distance between the two beams, and when weaving, the weaver sits on the ground and controls the tension of the warp with the position of his feet and the waist spine.

Then use a warp stick to divide the warp into two layers, the upper and lower layers, forming a natural shed.

Then use a bamboo heald rod to pass vertically through the upper warp yarn with a thread from the upper warp, and hang the lower warp yarn one by one.

In this way, the warp divider stick can be lifted by hand, and the position of the upper and lower layers can be reversed to form a new weaving mouth and carry out the next weaving.

The weaver called the place where the upper and lower warp yarns meet, and the so-called synthesis comes from here.

This kind of waist machine is very troublesome to use, and after passing the weft yarn through the weaving mouth, it is necessary to use a wooden beating knife to beat the weft, which is very inefficient.

But even so, this is already a very advanced production technology, and it has always been kept secret.

If it weren't for the soldiers coming to the city this time, the Lu State would definitely not pass on this technology to the Chu State.

However, in Li Yi's view, this kind of waist machine has nothing to do with the machine at all, but it is supported by the simplest two wooden sticks, and the weaving work still depends on the physical and mental power of the weaver.

So, Li Yi decided to build a loom.

At this time, the carpentry books he had read before entering the space came in handy.

He remembered that the books listed some wooden machinery, including the ancient machine, that is, the traditional loom.

From looms, bamboo cages, bias looms, spinning wheels, to large jacquard machines, there are records in books.

So, he made several models of machines out of bamboo, so that his mother could find an opportunity to dedicate them to the king of Chu, and successfully applied for research and development funds.

Subsequently, under his impetus, an industrial revolution was set off.

Seeing that the machine built can really greatly improve the efficiency of weaving, the king of Chu was overjoyed.

And he also discovered that it was not the old woman who made these machines, but Changping, who was possessed by Li Yi.

So, the king of Chu Gong, who was overjoyed, made a decision, that is, to marry Changping, who was possessed by Li Yi, as a concubine.

He plans to emulate the deeds of the Yellow Emperor who married Luozu as a concubine to win the Central Plains.

This decision almost frightened Li Yi into running away overnight, and finally under the threat of Li Yi holding a torch and declaring that he would die with the machine, the king of Chu Gong gave up this decision.

3

(End of chapter)