Sericulture and the spinning and weaving of silk originated in China thousands of years ago. Because of its rich colors and patterns, silk played an important role in ancient solemnities and ceremonies and also gave rise to a rich folkloric tradition.
As archaeological findings show, China was the first country to develop sericulture and silk spinning and weaving.
In 1977, at Hemudu (河姆渡), a 7,000-year-old archaeological site in the city of Yuyao (余姚) in Zhejiang Province (浙江), a silkworm-shaped carving was found that represents a testament to the early engagement of China's ancient people in sericulture-related activities.
Among the inscriptions on bones and turtle shells discovered in the ruins of Yin (殷墟), capital of Shang dynasty (商, ca. 1600-1046 BC), there are numerous references to silkworms, the Morus alba or mulberry tree and silk.
This reinforces the thesis that silkworm rearing and silk weaving were already an important part of the lives of the people of that time.
Until reaching the years of the Warring Kingdoms (战国时代, 475-221 B.C.) the development in China of the now well-known Jacquard comotelar, the various silk fabrics, a fine and resistant silk, silk gauzes, brocade, silk twill, damask and other types of fabrics was long-lasting and fruitful.
In the Tang and Song dynasties (唐宋, 618-907 and 960-1279 respectively), embroidery made on looms with silks and gold thread, fabric printing and dyeing, as well as other crafts derived from silk reached a certain maturity.
The appearance of brocade in particular represented a milestone in the history of silk handicrafts in China. To this day the so-called three great brocades of the world: the Sichuan (蜀锦, shǔjǐn), Song (宋锦, sòngjǐn) and cloud (云锦, yúnjǐn) still represent their highest expression worldwide.
Because of its rich colors and patterns, silk played an important role in ancient solemnities and ceremonies and also originated a rich folk tradition. The Book of Rites (礼记) states that only members of the royal family may wear silk.
The earliest references to this issue in The Classic of History (尚书) are those contained in the “twelve indications,” which set forth the twelve types of decorations and patterns established for the emperor and his ministers in order to show their ranks and dignities.
Among them, the emperor's silk headdress included the following motifs: the sun, the moon, the stars and constellations, the mountains, the figure of the dragon, and other twelve types of images that were also combined in different colors, each corresponding to the emperor's own virtue.