竹编灯罩：为什么手工编的灯，光影更"活"

▍一、竹丝是怎么来的

一只灯罩的品质，在编织开始之前就定了一半。竹材要选生长年限足够的竹子，太嫩则纤维松、易变形，太老则硬脆、难劈。砍伐讲究季节，冬竹糖分低，虫蛀少。

所谓"刮篾"，指的是把劈开的竹片刮去表层青皮与内层黄篾、只留竹肉的那道工序；它决定竹丝厚薄是否一致。竹编技艺在多个地区被列入各级非物质文化遗产名录，具体项目以各地文化和旅游部门公布的名录为准。

接下来是劈篾与刮篾。一根竹按需要的宽度层层劈开，再刮去表层青皮与内层黄篾，只留中间的竹肉。刮篾的手感决定竹丝厚薄是否一致，厚薄不一，编出来的面就不会平。

一束剖好待用的竹篾靠在墙边，篾丝细而匀，颜色是浅黄

▍二、"活"在哪里：缝隙的不均匀

手工编织的缝隙，看上去规律，细看每一格都有极小的差异。竹丝本身有粗细变化，编织时手上的松紧也不可能完全一致。光穿过这些微小差异，边界就不是一刀切出来的直线，而是有浓淡过渡的一层。这就是所谓"活"。

机器冲孔的孔则完全一致。光穿过后形成的亮斑大小相同、边缘锐利，照在墙上是整齐的图案。整齐本身没有错，只是少了变化，看久了眼睛找不到可以停留的地方。

第三重差别在竹丝本身的颜色。竹肉接近浅黄，灯光透过时会带一点暖调，这一点暖不是滤镜加上去的，是材料本身对光的选择性透过。

灯罩内壁的编织纹路，竹丝交叉处透出细碎的光斑

▍三、怎么看一只竹编灯罩好不好

一看密度是否均匀。 举起罩子对着光，整只罩子的透光应当接近一致，某一片特别稀说明编织时松了手，某一片特别密说明竹丝偏厚。

二看篾丝有没有毛刺。 刮篾不到位的竹丝，边缘会起毛，用手顺着摸能感觉到。毛刺不仅扎手，也说明这一批竹丝的厚薄控制不稳。

三看收口。 收口是竹编里最见功夫的位置，要把散开的竹丝头全部锁住，既要紧又不能勒变形。收口做得好的罩子，边沿摸上去是一圈完整的圆，没有突起的接头。

▍四、为什么这类器物值得被认真做

竹编灯罩是典型的日用器物：不贵，不罕见，也不进任何重要场合。可恰恰是这类东西，决定了一门手艺有没有真正进入生活。挂在博物馆里的精品，一年被看到几次；摆在客厅角落的灯罩，每天晚上都亮。

A woven bamboo lampshade is a典型的 everyday object: inexpensive, not rare, and absent from any grand occasion. Yet it is precisely such things that decide whether a craft has truly entered daily life. A masterpiece hanging in a museum is seen a few times a year; a lampshade in the corner of a sitting room glows every evening.

还有一件事值得说：竹编灯罩的骨架多半是竹或金属，罩面与骨架的结合处最容易出问题。做得好的会在接口处留出伸缩余量，因为竹材随季节含水率变化，尺寸会有微小浮动；做死了的接口，换季时就可能撑裂。这种看不见的余量，是做过几十年的人才知道要留的。

这和山西平遥推光漆器的道理一致：大漆髹涂一遍就要阴干一遍，省掉的每一道都记在器物的寿命上。我们做严选，看的不只是稀罕的技艺，也看这些天天要用的小东西做得够不够认真。一件日用器物如果被敷衍了，手艺在生活中的位置也就被敷衍掉了。

▍问答

问 ｜ 竹编灯罩用久了会变色吗

答 ｜ 会，属于正常。竹材在光与空气作用下颜色会由浅黄慢慢转向琥珀色，头一年变化较明显，之后趋缓。这是材料自然氧化的结果，不影响结构。想延缓变化，避开长时间直射阳光即可，不必做特殊处理。

问 ｜ 竹编器物怎么清洁，能不能用水擦

答 ｜ 尽量干擦。浮尘用软毛刷顺着编织方向轻扫，缝隙里的灰用吹风机冷风档吹出。需要去污时用微湿布快速擦拭并立即吸干，不要浸泡，也不要带着水闷放。水进到竹丝缝隙里排不出来，是这类器物变形的主因。

问 ｜ 怎么分辨竹编是手工编的还是机器压的

答 ｜ 三处可看。一看格距，手工的每一格有细微差异，机制的整齐到没有变化；二看收口，手工锁边处能看到竹丝头的走向，机制多是包边或胶粘；三看背面，手工编织两面纹路相互呼应，模压的背面往往是平的。

问 ｜ 韵和鸣收竹编这类日用小器物吗，标准一样吗

答 ｜ 一样，标准不分器物大小。三条不变：只选真正的非遗手工品，只与传承人本人合作，核心工序必须手工完成。产地与样式都可以不同，这三条不能让。竹编这类日用器物尤其要看收口与刮篾，那是省不掉的两道。

▍说在最后

好器物不一定昂贵，但一定经得起每天被使用、被看见。

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English

Half the quality of a lampshade is settled before weaving begins. The bamboo must be old enough: too young and the fibre is loose and prone to warping; too old and it turns brittle and hard to split. Season matters when cutting, since winter-cut bamboo carries less sugar and attracts fewer borers.

Shaving means removing the outer green skin and inner yellow layer from a split strip, leaving only the flesh between; it decides whether the strips are even in thickness. Bamboo weaving is listed at various levels in several regions, and specific projects follow the lists published by local culture and tourism authorities.

Next comes splitting and shaving. A culm is split lengthwise to the width required, then the outer green skin and the inner yellow layer are shaved away, leaving only the flesh between. The feel in the hand decides whether the strips are even in thickness; uneven strips produce a surface that will not lie flat.

A bundle of split bamboo strips leaning against a wall, fine and even, pale yellow in colour

Hand-woven gaps look regular but show minute differences on close inspection. The strips vary slightly in thickness, and tension in the hand cannot be perfectly uniform. Light passing through those small variations produces not a cut-out straight edge but a layer with gradation. That is what is meant by alive.

Machine-punched holes are identical. The bright spots they cast are the same size with sharp edges, forming a tidy pattern on the wall. Tidiness is not wrong. It simply lacks variation, and after a while the eye finds nowhere to rest.

A third difference lies in the colour of the strips themselves. Bamboo flesh is close to pale yellow, and light through it takes on a little warmth. That warmth is not a filter applied afterwards; it is the material's own selective transmission.

The weave on the inner wall of a lampshade, small flecks of light showing where strips cross

Check whether density is even. Hold the shade up to the light; transmission across the whole shade should be close to uniform. A patch that is notably sparse means the tension slipped; a notably dense patch means the strips ran thick.

Look for burrs. Strips that were not shaved properly fray at the edges, which you can feel by running a hand along them. Burrs are not only rough to touch; they mean thickness control for the batch was unstable.

Examine the closure. Closing off is where bamboo weaving shows its skill: every loose end must be locked, tight enough to hold yet not so tight as to distort. A well-closed shade presents a complete circle at the rim, with no raised joint.

Why Objects Like This Deserve to Be Made Properly

In our selection we look not only at rare skills but at whether these everyday small things are made with care. If an object of daily use is treated carelessly, then the place of the craft in daily life is treated carelessly too.

Does a woven bamboo lampshade change colour over time?

Yes, and it is normal. Under light and air, bamboo moves slowly from pale yellow towards amber, with the change most visible in the first year and then slowing. It is natural oxidation and does not affect structure. To slow it, avoid prolonged direct sunlight; no special treatment is needed.

How do you clean woven bamboo, and can it be wiped with water?

Dry-clean where possible. Brush loose dust along the direction of the weave with a soft brush, and blow dust from the gaps using a hairdryer on cool. For stains, wipe quickly with a barely damp cloth and dry at once; do not soak, and do not leave it wet. Water trapped between strips that cannot escape is the main cause of warping in such objects.

How do you tell hand-woven bamboo from machine-pressed?

Three places to look. First, spacing: hand-woven work shows slight variation between cells, while machine work is uniform to the point of having none. Second, the closure: hand-locked rims reveal the direction of the strip ends, whereas machine work tends to be bound or glued. Third, the reverse: in hand-weaving the two faces echo each other, while a pressed piece is often flat behind.

Does YUNHEMING take everyday items like bamboo weaving, and is the standard the same?

The same, regardless of the object's size. Three conditions do not change: only genuine handmade heritage works, only working with the bearers themselves, and core processes completed by hand. Origin and form may vary, but those three do not. With everyday bamboo items, pay particular attention to the closure and the shaving, since neither step can be skipped.

A good object need not be costly, but it must survive being used and looked at every day.

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