As early as the pre-Qin period, it was very common to make clothes and decorations with animal and plant fibers. The Book of Songs? Feng Wang? "cart" has "cart threshold, clothes are like clothes." The cart is humming and the clothes are like mud. Clothes made of animal hair are embroidered with colorful patterns. Say: Mao, the beast is fine. Zheng Xuan Note: Ancient doctors were crowned by the Emperor of Heaven. The Book of Songs? Feng Wei? Ge Wei: "Disputes can be frost" and "Mao Zhuan": "Correction is still dazzling. Xia Geju, Dong Piju. It can be seen that it is not woven with kudzu cloth, but hand-woven with kudzu rope. " Correction "is a phenomenon of intertwining between ropes." Jian Zheng: "Leather sword is cheap, leather sword is expensive". Qu Yuan's Lisao contains Pei's thought of "the separation of the Shanghai River from Bi, harmony", and Lan's "Nine Mounds" and "Hundred Mu Branches". Stay abroad, expose the car, Du Heng and local chronicles are mixed. Ji's branches and leaves are magnificent. I hope I can cut them when I'm ready. Among them, Pi Zhi, Lan, Hui, Jie Che and so on are all vanilla names, which were used by the ancients to make clothes and decorations, and Qu Yuan used them to describe virtuous people. During the Spring and Autumn Period, according to Zuo Zhuan and Wu Yue Chun Qiu, the weaving and dyeing levels of wuyue, Zheng and Wei have reached a certain level. By the Warring States period, silk fabrics could not only weave fine plain weave, but also weave complex twill, jacquard and embroidery. Brocade was the most advanced technology at that time. At that time, the main producing area of silk was Qi and Chu. The fine Luo Wan and exquisite embroidery produced in the State of Qi are famous all over the world, selling well all over the country, and are known as the "crown of clothes". Silk products of Chu State are famous for being unearthed in Jiangling, Hubei Province, and are known as "silk treasure house". Each variety of silk weaving has a variety of weaving methods and different colors and patterns. Among silk fabrics, brocade and embroidery are the most precious. Brocade is a heavy warp jacquard fabric with two to six colors in a single piece. Multicolor is divided into two methods: step-by-step continuous method. There are more than ten kinds of patterns, the main pattern, the ground pattern and the auxiliary pattern are in harmony, with rich varieties and elegant colors. Embroidery is based on silk. The embroidery method is mainly lock embroidery, with Ping Xiu in the middle, and the patterns are complex and colorful. There are more than twenty kinds of patterns, and the composition is strange and vivid, with a strong romantic myth color. The ancients were not only good at using natural fibers to enrich and beautify life, but also constantly invented and improved textile technology, making artificial fibers popular in all aspects of human social life. During the Tang, Song, Yuan, Ming and Qing Dynasties, there were institutions and artists specializing in embroidery.

After the founding of New China, the achievements of fiber art are mainly manifested in the carpet industry. Carpet, as one of the mainstream varieties of traditional arts and crafts in China, has always taken weaving 120 tapestry as the established technical and quality standard. Using traditional velvet planting technology, following the principle of realistic creation, pursuing realistic picture effect, and restoring the true face of life in works of art, China's carpet work "The Great Wall of Wan Li" was presented to the United Nations Headquarters as a national gift, which became a much-told story for a while. In 1980s, China entered the fast lane of reform and opening up, and fiber art also ushered in a bright spring. International academic exchanges have opened the door for China's fiber art to the world. Since then, China's voice has appeared on the world fiber art stage, and China's fiber art has entered an unprecedented era of diversified innovation and exploration.

Fiber art is an art that uses natural animal and plant fibers (silk, wool, cotton, hemp) or synthetic fibers as materials, and uses various production methods such as knitting, looping, winding, sewing and pasting to create plane and three-dimensional images. It can be used to make clothes, shoes, hats, ornaments, daily necessities, indoor and outdoor environment decoration, and can also be used as a art media for artists to express their feelings, love and hate, joys and sorrows. It is not only a practical art, but also a pure art with super utility. Fiber art includes traditional plane fabric (wall hanging), modern popular three-dimensional fabric (soft sculpture), daily arts and crafts, and works that express modeling language with various fiber materials in modern architectural space.

Nowadays, fiber art has blossomed everywhere in domestic colleges and universities, and a group of educators who love fiber art are working tirelessly in forums and studios. Fiber art education in China has begun to take shape. At the same time, the construction and research of theoretical culture has gradually moved from perceptual to rational, from surface to deep. In the summer of 2003, the "2003 China Fiber Art Education and Handicraft Culture Construction Theoretical Seminar" jointly organized by the Fiber Art Committee of China Arts and Crafts Society and the Art College of Heilongjiang University was held in Harbin, presided over by Professor Ni. Congratulations from Professor Wen Lianchang, Chen Xingguo, Vice President and Secretary General, and Professor Kyle, Vice President of Heilongjiang University, expressed sincere feelings for fiber art and handicraft culture from different angles. Lv Pintian, researcher of Chinese Academy of Art, deputy editor of Art Watch, professor of Tsinghua University Academy of Fine Arts, doctoral supervisor, Professor Zhang Fuye, editor-in-chief of Decoration, and Professor Sun Jianjun, deputy editor-in-chief of Decoration, gave the seminar a climax, which was highly praised by 40 participants from 26 universities in 12 provinces, municipalities and autonomous regions. A paper review committee composed of seven experts and scholars, including Wen Lianchang, Chen Xingguo, Lv Pintian, Dong Ya and Liu, selected 30 excellent papers. Artists gathered together to express their opinions and exchange ideas, sublimated the theoretical research of fiber art to a new height of manual culture construction, and conducted in-depth discussions on the long-standing fiber art culture in China.