原文

东粤之绵布，良苦不一，最美者白氎。《史记》：榻布者白叠，或作荅，是也。其布细腻精密，皑如雪，轻如茧纸，幅广至四五尺，吉络为之。其织为巾者，两头组结方胜、葳蕤及诸物象。织者每抛一梭，则念一佛，故广州人殓死者以为面衣。是曰西洋布，以来自番舶者为真。其出于琼者，或以吴绫越锦，拆取色丝，间以鹅毳之绵，织成人物花鸟诗词，名曰黎锦，浓丽可爱。白者为幛，杂色者为被，曰黎单。四幅相连曰黎幕，亦曰黎幔，以金丝者为上。又有花被假被，《汉书》：儋耳、朱崖皆服布如单被，穿中央为贯头，即今之黎单也。亦有织为巾帨与裙者。裙曰黎〈衤甬〉，横幅合缝如井栏，皆素花假锦百褶而成，所谓迦盘之衣也。黄文裕赋云：布帛则攀枝吉贝，机杼精工。百卉千华，凌乱殷红。疏絺薾暑，密斜弭风。盖谓琼布也。斜谓斜文布，其文或作象眼，或葽字，或大小方胜，文皆侧理，故曰斜。广州有麻经、丝经兼丝布，或绵纬丝。有双〈纟丕〉布，甚厚实。有榜被，絮絁所织，其纬粗如小指，或谓即〈并毛〉被，亦名〈并毛〉罽，或方文、斜文。雷州有雷被，以白绵线为之，亦有红者、紫者。崖州多织绵，儋州多织生丝。崖州组织绵线如布帛状，绣人物花鸟其上，有十金一具者，名曰帐房，俗称儋、崖二帐。是皆越布也。志曰：南方之布葛越，木绵草本，亦越也。其曰织贝者，织为贝文，诗所谓贝锦也。贝或吉贝也。志称高昌有草，实如茧，丝如细纟卢，名白纑氎子。织之为布，白叠即吉贝也。岛夷以卉服来贡，而织吉贝之精者以入篚，故曰织贝。临川吴氏云：染其丝五色，织之成文曰织贝，不染五色而织之成文曰织文。是也。绵与丝一也。绵又有木棉之绵，即攀枝花絮也。其木高四五丈，花殷红，朵大于杯，花落则絮蕴焉。春暮时温空而飞，采之，其粗者可以为褥。岭外以为吉贝即木棉，非也。吉贝草绵，如斑枝乃木棉耳。汪广洋诗：翠苞半拆渐吐绵，雪花填满行人道。又云：搓就琼簪腻如茧，丝成水缕细如烟。谓斑枝也。又有树绵，一曰树头绵，以吉贝枝接乌桕，俟生时截去乌桕，树长可八九尺，四季开花，夏秋尤盛。每一株生，数十年不坏。絮同木棉，德庆以上多种之。

白话

中文

广东东部的棉布，品质好坏差别很大，最好的一种叫“白氎”（dié）。《史记》里记载的“榻布”就是“白叠”（“叠”有时也写作“荅”），指的就是这种布。这种布质地细腻、组织紧密，颜色像雪一样洁白，轻得如同蚕茧纸，幅宽可达四五尺，是用“吉络”（优质棉花或指吉贝）织成的。用它织成头巾时，两端会织出方胜纹、葳蕤（wēi ruí，草木茂盛下垂的样子）图案以及各种物象花纹。据说织工每投一次梭子，就会念一句佛号，所以广州人用这种布作为覆盖逝者面部的“面衣”。这种布被称为“西洋布”，以从外国商船运来的为正宗。产于琼州（海南岛）的棉布，有的会拆取吴地绫缎或越地锦缎上的彩色丝线，掺杂鹅绒般柔软的棉花，织成带有任务、花鸟、诗词图案的织品，称为“黎锦”，色彩浓郁华丽，非常可爱。白色的黎锦用作帷帐，彩色的用作被子，称为“黎单”。四幅布连接起来的叫“黎幕”，也叫“黎幔”，其中用金线织的为上品。此外还有“花被”、“假被”。《汉书》记载：儋耳、朱崖（皆为海南古地名）的人都穿着像单层被子一样的布衣，在中间开个洞套头穿，这就是现在的“黎单”。也有织成头巾、手帕和裙子的。裙子叫“黎〈衤甬〉（tǒng）”，用横向的布幅缝合而成，像井口围栏的样式，都是用素色花纹、仿锦缎效果并打出很多褶皱做成的，这就是所谓的“迦盘衣”。（明代）黄文献（字文裕）的赋中写道：“布帛则有攀枝花（木棉）和吉贝棉，织机纺织技艺精湛。百花千草图案，纷繁艳丽呈殷红色。稀疏的细葛布可消解暑热，细密的斜纹布能抵御风寒。”这大概说的就是琼州的布。“斜”指的是斜纹布，它的纹路有的像菱形格（象眼），有的像“葽”字形，有的是大小方胜纹，纹理都是斜向的，所以称为“斜”布。广州有麻线作经、丝线作经的兼丝布，或者棉线作纬、丝线作经的布。有“双〈纟丕〉（pī）布”，非常厚实。有“榜被”，是用丝绵（絮絁）织的，它的纬线像小指那么粗，有人说这就是“〈并毛〉（bìng máo）被”，也叫“〈并毛〉罽（jì）”（一种毛织品），有方形或斜向的纹路。雷州有“雷被”，用白色棉线织成，也有红色和紫色的。崖州（今三亚一带）多织棉布，儋州（今海南儋州）多织生丝。崖州人用棉线织成布帛状，然后在上面绣上人物、花鸟图案，有的价值十金一套，名为“帐房”，俗称“儋、崖二帐”。这些都属于“越布”（泛指古代南方，特别是百越地区的布）。史志上说：南方的布有葛布属于“越”，木棉（这里可能泛指棉花）和草本纤维织物也属于“越”。所谓“织贝”，是指织出贝壳纹样，也就是《诗经》里说的“贝锦”。这里的“贝”也可能是指“吉贝”（草棉）。史志记载高昌国（新疆古国）有一种草，果实像蚕茧，里面的纤维像细丝绒，名叫“白纑氎（lú dié）子”。用它织成的布，“白叠”就是“吉贝”。（古代）岛夷（泛指海岛居民）用植物纤维衣物来进贡，同时把精美的吉贝织品放入贡筐，所以称之为“织贝”。临川（今江西抚州）的吴氏说：把丝线染成五色再织出花纹叫“织贝”，不染色而织出花纹叫“织文”。这种说法是对的。棉和丝是同一类（指都是重要的纺织原料）。棉中还有“木棉”的棉，也就是攀枝花的棉絮。这种树高四五丈，花朵深红色，比杯子还大，花谢后就结出棉絮。晚春时节天气变暖，棉絮就在空中飞扬，人们采集起来，粗的可以做褥子。岭南以外地区的人认为“吉贝”就是“木棉”，这是不对的。“吉贝”是草本棉花，像攀枝花那样的才是木本棉花。汪广洋的诗写道：“翠绿的棉苞半裂开，逐渐吐出棉絮，雪白的棉花铺满了行人走的路。”又说：“搓成的（棉条）像玉簪一样光洁细腻如同蚕茧，纺成的丝线像水中的细缕、像轻烟一样纤细。”这说的是攀枝花（木棉）。还有一种“树绵”，也叫“树头绵”，是把吉贝（草棉）的枝条嫁接到乌桕树上，等它成活后截去乌桕树的部分，嫁接后的棉树能长到八九尺高，四季都开花，夏秋两季尤其茂盛。每一株能活几十年不衰败。产出的棉絮和木棉（攀枝花棉）相似，德庆以上地区多种植这种树。

英文

Cotton cloths from Eastern Guangdong (Dongyue) vary greatly in quality; the finest is called "Bai Die". The Records of the Grand Historian (Shiji) mentions "Ta Bu" as "Bai Die" (sometimes written as "Da"), referring to this type. This cloth is fine and densely woven, white as snow, and light as cocoon paper, with a width reaching four to five chi (Chinese feet). It is made from "Ji Luo" (fine cotton or kapok). When woven into headscarves, the ends feature patterns of interlocking squares (fangsheng), drooping foliage (weirui), and various other figures. It is said that weavers recite a Buddhist chant with each throw of the shuttle, which is why people in Guangzhou use this cloth as a face covering for the deceased. This cloth is called "Xiyang Bu" (Western Ocean Cloth), and the authentic ones are those arriving on foreign merchant ships (fanbo). Those produced in Qiong Prefecture (Hainan Island) sometimes involve unraveling colored silk threads from Wu damask or Yue brocade, mixing them with cotton as soft as goose down, and weaving them into fabrics featuring figures, flowers, birds, and poems. These are called "Li Jin" (Li Brocade), richly colored, beautiful, and lovely. White Li Jin is used for curtains or canopies, while colored ones are used for blankets, called "Li Dan". Four panels joined together are called "Li Mu" or "Li Man", with those incorporating gold threads being the most superior. There are also "Hua Bei" (patterned blankets) and "Jia Bei" (imitation blankets?). The Book of Han (Hanshu) records that the people of Dan'er and Zhuya (ancient names for areas in Hainan) wore cloth like single blankets, with a hole cut in the center to be worn over the head – this is the present-day "Li Dan". They also weave headscarves, handkerchiefs, and skirts. Skirts are called "Li Yong"; horizontal panels are sewn together like a well railing, made with plain patterns, imitation brocade effects, and numerous pleats, known as "Jiapan" clothing. Huang Wenxian's (style name Wenyu) rhapsody says: "For fabrics, there are Pan Zhi Hua (Kapok) and Ji Bei cotton, woven with exquisite skill on looms. Patterns of a hundred flowers and myriad blossoms, dazzlingly intricate in deep red. Loose weaves dissipate summer heat, dense twills block the wind." This likely refers to the cloth from Qiong. "Xie" refers to twill weave cloth; its patterns might be diamond shapes (xiangyan - elephant eyes), "yao" character shapes, or large and small interlocking squares (fangsheng). The textures are all diagonal, hence the name "Xie" (diagonal/twill). Guangzhou has fabrics with linen warps, silk warps mixed with silk, or cotton wefts with silk warps. There is "Shuang Pi" cloth, which is very thick and sturdy. There is "Bang Bei", woven from silk floss (xu shi), with weft threads as thick as a little finger. Some say this is the same as "Bing Mao Bei", also called "Bing Mao Ji" (a type of felt or woolen textile), with square or diagonal patterns. Leizhou has "Lei Bei" (Lei blankets), made from white cotton thread, also available in red and purple. Yazhou (near modern Sanya) mostly weaves cotton, while Danzhou (modern Danzhou, Hainan) mostly weaves raw silk. Yazhou weaves cotton thread into cloth-like forms and embroiders figures, flowers, and birds on them. Some sets cost ten gold pieces and are called "Zhang Fang" (bed hangings/room dividers), commonly known as "Dan-Ya Er Zhang" (Danzhou-Yazhou two curtains/hangings). These are all considered "Yue Bu" (cloths of the Yue region/south). Historical records state: Southern cloths include Ge (kudzu fiber) from Yue; Mian (cotton) and Cao Ben (herbaceous fibers) are also Yue. What is called "Zhi Bei" (weaving cowries/shells) refers to weaving cowrie patterns, the "Bei Jin" (cowrie brocade) mentioned in the Book of Songs (Shijing). "Bei" here might also refer to "Ji Bei" (cotton/kapok). Records state that Gaochang (an ancient kingdom in Xinjiang) has a plant with fruit like cocoons and fibers like fine floss, called "Bai Lü Die Zi". Woven into cloth, "Bai Die" is "Ji Bei". Islanders (Dao Yi) bring tribute of plant-fiber clothing, and the finest woven Ji Bei products are placed in tribute baskets (fei), hence the term "Zhi Bei". The Wu family of Linchuan states: Dyeing the threads in five colors and weaving patterns is called "Zhi Bei"; weaving patterns without dyeing in five colors is called "Zhi Wen". This is correct. Cotton and silk are alike (i.e., both primary textile fibers). Cotton also includes the cotton from "Mu Mian" (Bombax ceiba), which is the floss from the Pan Zhi Hua (Kapok tree). This tree grows forty to fifty chi tall, with dark red flowers larger than a cup; the floss is contained within after the flowers fall. In late spring, when it gets warm, the floss flies in the air. It is collected; the coarser part can be used for mattresses. People outside Lingnan mistakenly believe "Ji Bei" is "Mu Mian". This is incorrect. "Ji Bei" is herbaceous cotton, whereas trees like Pan Zhi Hua are "Mu Mian" (tree cotton). Wang Guangyang's poem says: "The green pod half-split gradually reveals cotton, snowflakes fill the pedestrian path." And: "(Fibers) rolled into jade hairpins, smooth as cocoons; threads spun fine as water strands, delicate as smoke." This refers to Pan Zhi Hua (Kapok). There is also "Shu Mian" (Tree Cotton), also called "Shu Tou Mian" (Tree Head Cotton). This involves grafting Ji Bei (herbaceous cotton) branches onto the Wu Jiu (Tallow tree). Once established, the Wu Jiu part is cut off. The resulting cotton tree grows to eight or nine chi, flowers in all four seasons, especially abundantly in summer and autumn. Each plant can live for several decades without declining. Its floss is similar to Mu Mian (Kapok). It is widely planted in Deqing and areas further upriver.

文化解读/分析

此条目是关于清初广东地区（包括海南）棉布及相关纺织品的详尽记述，具有极高的文化、经济和科技史价值：

1. 纺织品多样性与地方特色：全面展示了广东地区棉、丝、麻、毛（可能指〈并毛〉）等多种纤维的利用，以及各种织物的名称、规格、品质、纹样和用途。如精美的白氎、华丽的黎锦、实用的黎单/黎〈衤甬〉、厚实的双〈纟丕〉布、粗犷的榜被、地方特色的雷被、以及高价值的儋崖绣品（帐房），勾勒出丰富多彩的纺织文化图景。
2. 黎族纺织文化（黎锦）：重点介绍了海南黎族的特色纺织品——黎锦，包括其独特的工艺（拆取旧丝线、掺杂棉花）、精美的图案（人物花鸟诗词）、多样的用途（幛、被、衣、裙）和形制（黎单、黎幕、黎〈衤甬〉）。这不仅是对黎族物质文化的珍贵记录，也印证了《汉书》关于古代海南居民服饰的记载，体现了文化的传承性。
3. 贸易与交流：“西洋布”明确指向海外进口的高级棉布，是海上丝绸之路贸易的物证。同时，提及高昌国的“白纑氎子”和“岛夷”进贡“织贝”，反映了更广阔地域范围内的纺织品交流和知识传播。
4. 纺织技术与知识：描述了不同的织法（如斜纹）、原料处理（如拆丝、掺棉）、装饰工艺（如织花、刺绣），以及对不同棉花品种的区分（吉贝/草棉、木棉/攀枝花、树绵/嫁接棉）。特别是对吉贝、木棉和树绵的植物学特征、生长习性、纤维用途的详细辨析，体现了当时较高的自然观察和农业科技水平（嫁接技术）。
5. 民俗与信仰：织工“每抛一梭，则念一佛”以及用白氎作“面衣”的习俗，揭示了纺织活动与宗教信仰、丧葬习俗的结合，为理解地方民俗提供了生动细节。
6. 名物考证与训诂：作者屈大均不仅记录物产，还引用《史记》、《汉书》、黄文裕赋、临川吴氏说等文献，对“白氎”、“黎单”、“织贝”等名称的来源和含义进行考证，体现了其严谨的治学态度和深厚的文献功底。对“绵与丝一也”的论断，虽显简化，但意在强调两者同为重要纺织原料的地位。

关键词

绵布、白氎、吉贝、木棉、攀枝花、树绵、黎锦、黎单、黎幕、黎〈衤甬〉、西洋布、斜文布、榜被、雷被、儋崖二帐、广东纺织、海南纺织、黎族、纺织技术、海上丝绸之路、棉花种植、嫁接技术、民俗、丧葬习俗、名物考证、屈大均、广东新语