Practical study demonstrates cross-medium translation of calligraphic textures into Kesi silk weaving, highlighting technical methods for intangible cultural heritage preservation.
Kesi, a traditional Chinese silk-weaving technique centered on the core craft of “tong jing duan wei”, is renowned as the “sacred art of weaving.” Its ability to render lines and create layered textures provides a unique carrier for the three-dimensional presentation of calligraphy art. This paper systematically sorts out the historical context of the integration between calligraphic textures and the Kesi craft, analyzes the structural and technical correspondences between the two in terms of line rhythm, texture expression, and woven surface formation, and verifies the technical paths of Kesi in reproducing the weight variations and ink tone gradations of calligraphy through typical cases. The study finds that the Qiangzhi technique of Kesi can simulate the ink-wash effect of calligraphy; the Dasuo technique can solve the problem of weaving vertical strokes; and the “Hehua Threads” technique can achieve the transition between dense and light brush intentions. Classic works such as the Kesi scroll of Mi Fu Xing Shu Zhou from the Ming Dynasty have already formed a mature paradigm of “yi suo dai bi ”, which provides important references for contemporary innovation. The research results fill the gap in technical transformation in the interdisciplinary field of calligraphy and Kesi, and offer theoretical support and practical templates for the creative transformation of intangible cultural heritage techniques. Furthermore, this study constructs a formalized “texture translation” theoretical model to clarify the cross-medium conversion mechanism between calligraphic expression and Kesi craftsmanship, and supplements a quantitative analysis method for texture similarity evaluation, which may provide a methodological reference for digital texture recognition, electromagnetic surface sensing, and non-contact characterization of woven cultural heritage materials.
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L. Wang (2026) studied this question.
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