Among various theories about images, the theory of technical image proposed by Vilém Flusser is distinguishing in that it turns to understand the mechanism of the formation of modern images from the perspective of apparatus and programs, which reveals the material aspect of image production. However, so far most of the studies on technical images have been oriented to modern technologies, whereas the role that the traditional technologies in image production is neglected. This paper focuses on one of the most ancient technologies of human society, textile making and the image derived from them, texture, trying to use this special form of artifact to have a dialogue with Flusser’s theory of technical image. It’s argued that although texture, as a form of image, is produced through weaving and knitting, two very ancient techniques, the key to the production is apparatus and programs. Therefore, it is a form of technical image. What’s more, by looking into the materiality and history of textile making, texture also demonstrates some characteristics of technical image that are missing in previous theorization. Unlike Fluseer’s chronicles, texture extends the history of technical image much earlier than the invention of writing system. It sheds light on a unique relationship between image and surface. And lastly, it suggests a possibility of a cooperative relationship between human and machine, as well as a form of distributive intelligence between human and non-human.