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==Final Paper==
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==Final Exam Paper==
  
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==Quanzhou Zanhua-- Hairpin Flower Adornment==
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===Bai Tie-Dying===
  
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==Contents==
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===Contents===
  
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1.1Quanzhou Zanhua
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Chapter 1 General Introduction
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1.1.1Introduction
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1.1.2Historical Origin
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1.1 Research Background
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1.1.3Production Process
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1.1.4Cultural Significance
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1.2 Research Significance
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1.1.5Social Function
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1.1.6Intangible Cultural Heritage Protection
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Chapter 2 Historical Origin and Features
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1.2Reference
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1.3Terms
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2.1 Origin  
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1.4Questions
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1.5Answers
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2.2 The Development Characteristics of Different Historical Periods
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2.3 Production Process
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2.4 Dye Types and Characteristics
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Chapter 3 The Dilemma of Inheritance
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3.1 Lack of Inheritors
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3.2 Lack of Innovation
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3.3 Backward Marketing Methods
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Chapter 4 Solutions to Tie-dying Inheritance
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4.1 Innovation of High-end Products Made from Tie-Dying
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4.2 Innovation of Dissemination Methods
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4.3 Application of AIGC System
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Reference
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Terms
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Questions
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Answers
  
 
====Introduction====
 
====Introduction====
  
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The hairpin flower adornment originated from Xianpu Village, Fengze District, Quanzhou City, Fujian Province, and belongs to China's intangible cultural heritage. As an important part of Quanzhou's folk costume culture, the custom of hairpin flowers in Xunpu showcases a quaint charm with its unique hairpin flower headdress and wide sleeved shirt, while carrying ocean memories and folk traditions. Hairpin flower headdress with rich layers of decoration, known as the "walking garden", in terms of form exhibiting unique regional characteristics and cultural connotations in decorative arts. As a unique component of cultural heritage, the hairpin style of the women of Xunpu exudes a unique charm and profound historical atmosphere, embodying local customs, historical memories, and cultural genes.
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=====Research Background=====
  
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In 2008, the women's customs of Xunpu, represented by "Zanhua Wei", were included in the second batch of national intangible cultural heritage list, and their cultural value has been widely recognized by the government and society. This is not only a decorative custom, but also a vivid embodiment of Quanzhou's historical and cultural heritage. Through in-depth exploration, protection, and rational development, this ancient culture will be revitalized and shine with new brilliance in the new era, further enriching people's spiritual world, promoting the development of related industries such as culture and tourism, and contributing to the prosperity of local culture and economic growth.
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Intangible cultural heritage is the outstanding traditional culture of a country and a nation. 5G has broken through the technical barriers of live streaming. Intangible cultural heritage has also achieved rapid development through live streaming. The Bai ethnic group's tie-dyeing technique in Zhoucheng Village, Dali, has been refined through history and has become a symbol of the local characteristic culture. In the new environment, traditional intangible cultural heritage skills need to adapt to the new environment and make new changes.
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=====Research Significance=====
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From a practical perspective, intangible cultural heritage, as a spiritual heritage representing the cultural characteristics of a country or region, plays a promoting role in the current advocacy of rural cultural revitalization and the formation of rural cohesion. The Bai ethnic group's tie-dyeing village has a history of over a hundred years and is rich in cultural heritage. Tie-dyeing is one of its most prominent intangible cultural heritages, carrying the collective memory and emotional demands of villagers of different generations. To help tie-dyeing escape the fate of being "abandoned", this article traces its historical origin and explores its current development status, with the aim of innovatively developing tie-dyeing in contemporary times. This can enhance people's awareness of the protection of intangible cultural heritage and also provide certain inspirations for the development and protection directions of other intangible cultural heritages.
  
 
====Historical Origin====
 
====Historical Origin====
  
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Quanzhou Hairpin Flowers, one of the traditional and ancient head ornaments of the Chinese nation, originated in the Han Dynasty, flourished in the Tang Dynasty, and evolved during the Song Dynasty. The Tang Dynasty painting Court Ladies Adorning Their Hair with Flowers vividly captures the graceful posture of women adorned in splendid attire with flower hairpins. Within the clothing culture of Xunpu, the custom of wearing flower hairpins is distinctive, carrying unique cultural significance. Legend has it that as early as the Han Dynasty, people used fresh flowers, gold and silver, and silk to craft artificial blooms for hair decoration, serving both aesthetic and ceremonial purposes. The custom of flower hairpins among Xunpu women is rich in legend. One tale tells of a Xunpu woman, originally a palace beauty, who was bestowed with a flower hairpin by the emperor, passing down the tradition through generations and adding an aura of mystery and nobility. Another account links the practice to local maritime culture, where male fishermen presented flower hairpins to women as tokens of respect and blessing. Initially, hairpins were often meticulously crafted from materials like seashells and coral. Over time, the designs blended fresh and dried flowers, as well as single blossoms and garlands, with jasmine and other flowers being the most common. The style could also change with the seasons and personal preference. Moreover, flower hairpins serve as essential adornments in Xunpu attire, harmoniously integrating with local garments. They not only highlight the unique charm of Xunpu women but also showcase the distinctive clothing culture of the region.
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=====Origin=====
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Tie-dyeing, a traditional folk craft that has evolved from the Qin and Han dynasties to the present, is practiced by the Bai people in Zhoucheng. Since the late Ming and early Qing dynasties, tie-dye handicrafts have been well inherited and developed in this region, integrating culture and art into a cohesive whole. In 2006, the Bai ethnic group’s tie-dyeing technique in Dali, Yunnan Province, was inscribed on the national list by the Ministry of Culture as a national intangible cultural heritage[5].
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Zhoucheng, known as the “Hometown of Bai Ethnic Group’s Tie-dyeing,” is situated 23 kilometers north of the ancient city of Dali. It lies beside the Yunnan-Xizang Highway, 38 kilometers away from Xiaguan. As the largest natural village in Yunnan Province, it covers an area of 7 square kilometers and has a population of over 8868, nearly all of whom are Bai people. The village is home to over 1500 Bai ethnic households, making it the largest Bai ethnic village in Dali. It serves as an open folk tourism area for the Bai ethnic group, attracting visitors who come to tour the village.
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=====The Development Characteristics of Different Historical Periods=====
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In the sixteenth year of the Zhenyuan era of the Tang Dynasty, the Nanzhao dance troupe traveled to Chang’an to perform. The costumes they wore, described as having “skirts and jackets made from depictions of birds, beasts, plants, and trees, with patterns created using eight-color mixed leather”, were produced by using tie-dye techniques. The earliest physical evidence of tie-dye that we can see now originates from Astana in Turpan, Xinjiang. This Han Dynasty artifact has a history of approximately two thousand years. From this fabric fragment, one can observe the state of the dyeing: the valerian dots, similar to those on caviar, are uniform in size, evenly arranged, and brightly colored. These characteristics fully demonstrate that tie-dyeing techniques had already reached a relatively high level during the Qin and Han dynasties. Based on this evidence, it is reasonable to infer that the origin of manual dyeing and printing technology in our country should predate the Qin and Han dynasties. The reason earlier examples have not been discovered is likely due to the difficulty in preserving textiles over long periods, rather than the absence of such rudimentary printed and dyed fabrics.
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After the tumultuous wars and divisions of the Wei, Jin, Northern and Southern Dynasties, the unification under the powerful Sui and Tang Dynasties brought people a peaceful and prosperous life. This also provided opportunities for the development and prosperity of tie-dyed clothing. At that time, both tie-dyeing techniques and printing and dyeing processes had reached a very high level. The craftsmanship was ever-changing, and the patterns were countless. There were various tie-dye techniques such as binding, pleating, twisting, knotting, and folding and sewing. The exquisite tie-tying techniques captured the essence of nature. There were patterns like deer placenta valerian and overlapping spots valerian like agate, as well as continuous net-like patterns in four directions, four-petal pattern, shippou pattern, and pattern with birdflower design. A wide variety of patterns and designs, including flower and bird motifs, were also achieved through the use of plant dyes and mineral dyes, creating a riot of colors. Commonly used dyes included madder for red, indigo for blue, and ochre for yellow. For example, the  “Four-Petal Flower” unearthed from the Tang Dynasty, which adopted the techniques of scattered point arrangement and folding and stringing, features bright orange-yellow petals against a dark brown background. A Tang Dynasty shippou patterned vase preserved in a Japanese museum, dyed using the folding and stringing stitch method, forms a net-like structure with very beautiful patterns resembling copper coins. These tie-dyed fabrics, with their exquisite composition and smooth lines, were widely loved by people, from high-ranking officials and nobles to common folk. The use of tie-dye became a prevailing trend, making tie-dyed clothing popular. The Tang Dynasty witnessed unprecedented development and prevalence of tie-dyeing[6].
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By the Song Dynasty, tie-dyeing had become very common. Moreover, the techniques of tie-making had also been continuously refined. Beautifully crafted zha dyeing products had become commonly used clothing items in daily life. However, the Song Dynasty adhered to frugality and issued edicts many times to prohibit or limit production. On one hand, the royal family’s ban on the use of tie-dyed and other printed and dyed items indicated that these techniques had developed and become more widespread than ever before. On the other hand, repeated prohibitions and heavy punishments dealt a blow to the booming folk tie-dyeing industry, resulting in many cases of the loss of dyeing techniques. This led to the prevalence of this ancient technique in the Sui and Tang Dynasties being fatally damaged and thus declined.
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=====Production Process=====
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The method of making tie-dye is unique. Old books vividly describe the process of making tie-dye by the ancients, “pick and gather the threads, tie them up, and then dye them. Once dyed, the knot is untied. All the knots are in their original colors, while the rest are dyed, making the colors rich and colorful.” The main steps of tie-dyeing include painting patterns, twisting and tying, soaking, dyeing the fabric, steaming, drying in the sun, thread removal, rinsing and grinding the fabric. Among them, the two main processes are tying flowers and soaking dyeing. The key techniques lie in the twisting and tying techniques and dyeing skills. Dyeing vats, dyeing sticks, drying racks, stone mills and the like are the main tools for tie-dyeing.
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Tie-flower, originally known as “tying knots”, is a process that begins with the selection of fabric. According to the requirements of the pattern, the fabric is shaped into a certain form using methods such as creasing or crumpling [9], folding, rolling, and squeezing. Subsequently, with a needle and thread, it is sewn or wrapped stitch by stitch to make it tight and securely sewn, thereby transforming the fabric into a series of “knots”.
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The dyeing process commences with soaking the fabric, which has been tied into “knot”,  in clean water. The fabric is then placed in a dye vat for either cold dyeing after soaking or hot dyeing after heating. After a certain period, the fabric is removed and allowed to dry before being reimmersed in the dye vat for further dyeing. This repeated immersion process deepens the color with each cycle, a phenomenon known as “indigo blue is extracted from the indigo plant, but is bluer than the plant it comes from.”. The parts that have been sewn, being impermeable to the dye, naturally form beautiful patterns. Additionally, due to the varying stitches used by individuals and the differing degrees of dye penetration during the sewing and tying process, there is an element of randomness. As a result, the finished dyed products are rarely identical, thereby endowing them with greater artistic significance[8].
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=====Dye Types and Characteristics=====
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The main plants are indigo or soil indigo, which are commonly known as "radix isatidis" in folk terms. The indigo dye used for dyeing cloth in Zhoucheng is all grown and processed by the villagers themselves. Besides meeting the cloth dyeing needs of their own village, the surplus indigo is also sold to other regions.
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Isatis root is a natural plant dye. The production process does not add any chemical components and causes no pollution to the environment. The non-toxic dye extracted from it conforms to the principle of sustainable development. The main colors are blue and white. The dyed fabrics are either blue with white patterns or blue with white patterns. The tones are fresh and elegant, with a unique charm, reflecting the pure and gentle aesthetic characteristics of the Bai ethinic groups. Moreover, through repeated immersion, various shades of blue can be formed. There is often a certain transitional gradient effect between the flower and the ground, with many ice cracks, naturally formed. And tie-dyed products made from plant indigo have bright colors and good color fastness, and are not easy to fade.
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====The Dilemma of Inheritance====
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=====Lack of Inheritors=====
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There is a significant risk of discontinuity in the inheritance process of tie-dyeing techniques. The older generation, who have systematically learned and mastered the tie-dyeing technique, have been able to make a living from it. However, the tie-dyeing process is inherently complex and time-consuming. Despite the considerable time investment required, the income generated is often only sufficient to support a modest livelihood. As a result, young people are increasingly reluctant to devote substantial time and energy to learning these ancestral skills. This reluctance has led to a growing risk of discontinuity in the transmission of traditional tie-dyeing skills. The core contradiction lies in the long-term investment required for the inheritance of skills and the career pursuit and survival pressure of contemporary young people[7].
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=====Lack of Innovation=====
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In today’s era that encourages innovation and development, tie-dyeing, as a traditional technique, faces significant challenges. The traditional dyeing process lacks innovation in its products, which is mainly manifested in low-end production. The products are highly homogeneous, and high-end ones are scarce.
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At the very beginning of the birth of this art, tie-dyed products mainly included ethnic costumes, tablecloths, table flags, and other items. These were primarily supplied to meet local market demand and for export to foreign countries. However, after 2010, orders from abroad have decreased significantly. Merchants have had no choice but to expand into the domestic market, developing a series of tourism products.
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As of 2020, the tie-dyed products in Dali Prefecture mainly include tablecloths, T-shirts, dresses, scarves, and table flags. A small number of high-end ethnic costumes are available, and the rest of the peripheral products include throw pillows, handbags, and toys, such as dolls, coasters, shoes, hats, socks, and door curtains. The current peripheral products are in the initial stage of research and development and have not been widely sold. They mainly focus on tourism products, such as T-shirts and dresses, which have become the main low-end tie-dye products in Dali Ancient Town, Xizhou Town, and Shuanglong Town. As the products with the widest audience range, the clothing of each store mainly relies on purchasing and selling. The styles, patterns, and forms of the products sold are almost identical, resulting in serious homogenization. The production and sales of the products have gone off track, lacking novelty and innovation. The market for low-end tie-dye products has not been enriched, nor has its artistic form been fully demonstrated. This is a problem brought about by insufficient innovation drive.
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Another manifestation of the lack of innovation is the scarcity of high-end products. Artistic masterpieces are the highest expression of folk craftsmanship and can fully embody the art of Dali’s traditional dyeing, which has been passed down for thousands of years. High-end tie-dye products from Dali, such as traditional craft ethnic costumes, complex and exquisite series of table flags and tablecloths, and dedicated artworks, are only available in a few shops, workshops, or museums for appreciation or sale. There are over a thousand kinds of tie-dye patterns, but not many are presented. Neither merchants nor local Bai residents have fully utilized the original skills of this craft to master the superb tie-dyeing techniques and bring the art into the public eye, presenting tie-dyeing thoroughly and completely. This is a characteristic of high-end product scarcity and is also a problem caused by insufficient innovation drive.
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If the essence of tie-dyeing techniques can be combined with high-end products, it will not only enhance the popularity of tie-dyeing but also bring back its top-notch artistic essence. The development and innovation of low-end products indirectly enhance one’s own economic self-sustaining capacity. Therefore, the issue of product innovation needs to be further addressed.
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=====Backward Marketing Methods=====
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Many local tie-dye practitioners are engaged in online business. Most of the members are middle-aged people over 35 years old and elderly people from Zhoucheng Village. They are mostly illiterate or those who can read but sell products through the Internet. This approach indicates a lack of understanding, indifference, and energy. Therefore, most major tie-dye producers do not have online stores and do not engage in online business activities.
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Some local foreign merchants are currently developing online markets, such as opening online stores or promoting and advertising on various popular social media platforms. While exploring customers and conducting online operations, they also drive traffic to physical stores. However, due to reasons such as a single product range and insufficient professionalism in online operations, the online operation results of some merchants are not satisfactory and need to be improved. Overall, the specific business models both online and offline are backward, and the potential of tie-dyeing has not been fully exploited. The advantages of the product have not brought considerable economic benefits, and thus it is impossible to further invest in promoting the development of tie-dyeing.
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====Solutions to tie-dye inheritance====
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=====Innovation of High-end Product Made from Tie-dying=====
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Mass product manufacturing, apart from clothing, should expand its industrial chain by utilizing the patterns and designs of tie-dyeing and combining them with the consumption preferences of modern consumers. These designs can be applied to various product categories, such as canvas bags, hats, coasters, wedding dresses, art scrolls, and household items. This approach ensures that the products not only possess the beauty of traditional craftsmanship but also exhibit modern aesthetic appeal. High-end products and art pieces represent the pinnacle of cultural expression. The creation of high-end products should delve deeply into the historical roots of tie-dyeing, capturing the essence of its millennia-old cultural heritage and refining it for contemporary appreciation[4].
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=====Innovation of Dissemination Methods=====
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Due to the influence of the geographical environment and the traditional thoughts of ethnic minorities on the villagers of Zhoucheng Village, their media literacy and cultural literacy are not high. Coupled with their lack of a strong media awareness, the cost of their media learning is relatively high[3].
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The promotion of live streaming of intangible cultural heritage, including tie-dyeing, requires a nuanced understanding and active participation from live-streaming hosts. These hosts, who utilize live-streaming media, play a crucial role in publicizing tie-dyeing culture. Young people, in general, exhibit a higher acceptance of modern media and possess a stronger ability to learn new things. This makes them ideal candidates for becoming live-streaming hosts. However, the fact that the younger generation has not yet mastered the traditional tie-dyeing skills presents a significant challenge. This gap in knowledge and skill has thus made the promotion of live streaming of intangible cultural heritage, particularly tie-dyeing, rather difficult.
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To address this issue, it is urgent to introduce corresponding strategies to encourage the younger generation to devote themselves to the learning and inheritance of traditional tie-dyeing techniques. Cultivate the live-streaming awareness of the people in Zhoucheng to promote tie-dyeing, and carry out stratified and classified live-streaming specialized training based on the ability characteristics and cognitive levels of different groups. The practical teaching focuses on basic operations and process demonstration scenarios for middle-aged and elderly practitioners. For the younger group, it strengthens the cultivation of advanced skills such as content planning, interactive operation and new media communication. Through adaptive training, the participation threshold is lowered to consolidate the ability foundation of live streaming promotion. Villagers can hold offline practical workshops, with the core content being the basic operation of mobile phones and the simplification of live streaming processes. It covers practical function training such as one-click live streaming and automatic reply Settings, supplemented by dialect explanations and graphic manuals to enhance the adaptability of teaching. The focus is on conducting live streaming training for process demonstrations, through real-time demonstrations of core procedures such as flower arrangement and dyeing. By integrating the oral dissemination of knowledge points related to intangible cultural heritage, the professionalism and cultural nature of live-streaming content should be strengthened.
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=====Application of AIGC System=====
  
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====Production Process====
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In the digital transformation and innovative practice of tie-dyeing, AIGC (Artificial Intelligence Generated Content) technology can play a core enabling role. By collecting traditional tie-dye patterns for digital modeling and constructing a dedicated deep learning database, the technology can accurately extract the unique textures and color spectra of the tie-dyeing process. It can then intelligently generate diverse and innovative patterns based on users’ semantic demands. This approach not only significantly enhances the efficiency of pattern iteration and meets the demands for personalized customization but also promotes the deep integration of traditional craft symbols with modern aesthetic trends, breaking the temporal and spatial limitations of traditional pattern creation.
  
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The main steps of the hairpin and flower enclosure technique in the women's custom of Xunpu include material preparation, hair styling, decoration, and shaping.
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At present, 3D models are mainly applied in the display and promotion of cultural heritage, providing virtual situational experiences for precious cultural relics that were originally hard to access. In the 3D model world that integrates AR (augmented reality) and XR (Extended Reality) technologies, users can explore and practice by manipulating virtual objects, thereby obtaining a more interactive and immersive learning experience[1].
  
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The hair styling tools include a comb, a moderately long red string, a bone comb, etc. If necessary, a wig can be prepared. Decorative components include flower strings, border flowers, small combs, tortoiseshell combs, hairpin needles, golden spear needles, golden flowers, golden swords, etc. It is advisable to choose different flower species for flower skewers, with a quantity of 1 to 5 skewers; Edge flowers can be selected and matched as needed, with a minimum quantity of 1 flower.
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In terms of experience innovation, a virtual tie-dyeing interaction platform can be established. By leveraging VR (Virtual Reality) technology, the entire tie-dyeing process—from design conception and tying operations to dyeing and color fixation—can be fully replicated, allowing users to immerse themselves in the craft’s creation. Meanwhile, AR technology can be integrated to enable real-time previews of patterns and dynamic adjustments of effects, further optimizing the intuitiveness and convenience of the customization experience.
  
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First, comb your hair straight, including all the bangs, back to keep your forehead smooth and neat. Starting from the earlobe as the distribution line, use a bone comb to divide your hair into front and back parts. First, comb the back of the hair straight and tie a half height ponytail with a red string; Sort out the front part of the hair, use a bone brace to support and fix the front part of the hair, then merge the front part of the hair into the back part of the hair. Tie the front and back parts of the hair together with a reserved red rope to form the same ponytail, and let the remaining red rope hang naturally on the top of the head. Twist the long ponytail into a slender rope shape, and then spiral the rope shaped ponytail around the hand in a loop by loop manner. The hair loop naturally starts from big to small, and then around the base of the ponytail, the hair loop is twisted into a flat spiral circular bun from small to big, from inside to outside, and then pulled out to fix the bun. A small section of hair at the end of the remaining ponytail is twisted and wrapped around the remaining red string, fixed and wrapped around the base of the ponytail, hidden between the flower clusters or between the flower clusters and the hair bun. Edge flowers are inserted to increase the layering and richness of the headwear, completing the edge flower wearing. The selection of color, shape, and quantity of border flowers should be coordinated with the flower clusters and form a harmonious aesthetic with them. It is advisable to choose edge flowers with bright colors and diverse shapes to reflect the overall colorful and rich floral decoration. Wear a tortoiseshell comb on the front side of the bun, and insert the pin hairpin of the tortoiseshell comb into the center of the bun to assist in fixing, so that the tortoiseshell comb and the overall hairpin flower blend together and complement each other. Insert hairpin needles at the top or side of the bun; Other gold jewelry such as gold flowers and swords can be worn as needed.
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To ensure cultural value and intellectual property protection during digital transformation, the introduction of blockchain technology is particularly crucial. It can endow digital tie-dye works or physical tie-dye products with a unique and unalterable digital identity identifier and record core information such as material traceability, process flow, and cultural implications throughout the product’s entire lifecycle. This not only verifies the authenticity and inheritance of intangible cultural heritage techniques but also builds a robust barrier for intellectual property protection, preventing piracy and infringement. Moreover, it provides reliable value support for the expansion of tie-dyeing culture in contemporary cultural and creative industries, as well as in cross-border cooperation and other fields.
  
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====Cultural Significance====
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By integrating AR (Augmented Reality) and VR (Virtual Reality) technologies, users can experience the presentation effects of tie-dye patterns on different materials, such as cotton, silk, and linen, and under various lighting conditions in real time through their mobile phones or VR devices. At the same time, the virtual interaction platform enables users to simulate the entire tie-dyeing process, including tying, dyeing, and rinsing. This process not only enhances the visualization of the craftsmanship and enriches the user experience but also promotes the interactive dissemination of knowledge related to intangible cultural heritage. This immersive participation mode breaks through the limitations of traditional static displays and provides a new dynamic dissemination path for the digital transformation of intangible cultural heritage[2].
  
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The crab hairpin flower is a distinctive part of the local clothing culture, with different flowers containing unique meanings. For example, peonies symbolize wealth and prosperity, plum blossoms symbolize proud and cool breeze, orchids showcase freshness, chrysanthemums represent integrity and perseverance, and wearers can use this to express their emotions and pursue a spirit of good quality. Hairpin flowers themselves are also auspicious symbols, symbolizing happiness and beauty, and are used as objects of prayer and celebration, wishing for good luck to come.
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===References===
  
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In addition, the hairpin flower, as a symbol of love and blessing, witnesses the happy and fulfilling marriage of the crab maiden. In the traditional wedding customs of the crab maiden, on the day of the wedding, the bride is dressed in traditional clothing such as a blue shirt and wide pants, and wears a beautiful flower wreath on her head. The hairpin flowers complement the clothing, showing off her beauty. This custom not only continues traditional marriage customs, but also represents the inheritance and display of crab culture, carrying people's expectations for a better life. Hairpins and flowers have multiple meanings in ancient times, serving as a symbol of status among the nobility, and jade jewelry hairpins and flowers further demonstrate status. In Crab Village, hairpin flowers have become a symbol of women's diligence, resilience, and beauty. The crab girl showcases her unique charm with hairpin flowers, winning social recognition. The symbolic significance of hairpin flowers varies in different contexts. In the Song Dynasty, hairpin flowers also had the function of distinguishing official ranks, with different colors, flowers, hairpin techniques, and material colors corresponding to different official ranks. Although the silk hairpin flower does not have the function of distinguishing official ranks like the Song Dynasty silk hairpin flower, it reflects the unique cultural connotation of silk hairpin women. Paired with the traditional clothing of silk hairpin women, silk hairpin flowers have become an indispensable part of silk hairpin clothing culture, showcasing the unique charm and value of silk hairpin women.
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[1]Tao C, Hong X. A three-dimensional visualization model for intangible heritage of tie-dye handicrafts[J]. npj Heritage Science, 2025, 13(1): 648-648.
  
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The hairpin flower, as a hairstyle, is an important element of the crab's clothing culture. The hairpin flower displays the elegant taste and vitality of the crab maiden from the very beginning
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[2]韩美仪. AIGC技术在自贡扎染文创设计中的应用研究[J]. 西部皮革, 2025, 47(20): 119-121.
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With a lively atmosphere, the crab shaped woman carefully selects and matches the fresh and fake flowers on the hairpin, pursuing perfection in both color and shape. It is also a carrier for women to showcase their softness and beauty. In Crab Village, girls grow long hair from a young age. From the age of eleven or twelve, they carefully tuck their hair behind their heads and stuff it with fresh or fake flowers, forming a "thick toed" hairstyle. This hairstyle is beautiful and elegant, carrying the unique understanding and pursuit of beauty by the crab girl. The hairpin flower and traditional clothing such as the blue cloth shirt and wide pants of the crayfish women complement each other, jointly shaping the unique image of the crayfish women. Hairpin flower is not only a hairstyle, but also reflects the persistent pursuit of beauty by the women of the crab shaped dress, showcasing the charm of the crab shaped dress culture.
 
  
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At the level of maritime beliefs, wearing flowers on the head has also become a cultural symbol for coastal ethnic groups. On the occasion of the birthday of Mazu, the sea god, on the 29th day of the first lunar month every year, a folk celebration called "Tianxiang" is widely held along the coast of Fujian Province. The custom of worshiping gods with flowers is quite influential in the Quanzhou area. Among them, the tradition of the women's hairpin flower parade in Xunpu continues to this day. This ceremony not only expresses reverence for the marine gods, but also strengthens the spiritual identity of coastal ethnic groups towards marine civilization through collective cultural practices, forming a unique landscape where nature worship and regional culture are intertwined.
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[3]刘静, 陈俞颖, 崔嘉惠, 李露璐. 非遗直播的现实困境与发展路径探究——以大理周城村白族扎染为例[J]. 传播与版权, 2021, (09): 97-99.
  
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====Social Function====
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[4]钱美琴.扎染的发展现状及对策研究——以云南大理为例[J].大众标准化, 2021, (16): 51-54.
  
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1. Practical functions
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[5]谢兵. 周城扎染研究综述[J]. 西部皮革, 2017, 39(14): 113-114.
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The shape and structure of the hairpin flower enclosure are deeply in line with the geographical environment and production and living needs of Xunpu Village. In the early days, many men in Xunpu relied on going out to sea for a living. Diligent women in Xunpu not only took on household chores, but also had to go to the beach to harvest oysters. Due to the strong wind and sand in the natural environment by the seaside, and the frequent need for them to lower their heads to pick oysters, bend down to cast nets and fish, the women of Xunpu chose the habit of not leaving bangs and coiling their long hair around their heads. The hairpin flower enclosure is fixed to the bun structure with multiple hairpin hairpins, which has strong stability and can effectively help fishermen resist the invasion of sea breeze during work. It can also prevent hair from being soaked in seawater or tangled in fishing nets, fully reflecting the organic unity of practical function and regional culture.
 
  
−
2. Aesthetic function
+
[6]叶佑天, 刘超, 胡思斌. 浅谈扎染服装的历史、现状、发展[J]. 美与时代, 2003, (01):49-51.  
−
The women of Xunpu have a special love for flowers, and they consider them as important decorative elements. The hairpin materials mainly include two types: "raw flowers" and "ripe flowers": the former specifically refers to various natural flowers that bloom in season; The latter is decorative silk flower, commonly known as "plastic flower". They decorate the spiral bun with layers of flower garlands, fresh flowers, and silk flowers, and wear 1-2 strings of flower garlands on ordinary days. During festivals or festive occasions (such as Mazu's birthday), women in Xunpu Village usually spend several hours carefully decorating their hairstyle wearing 5 to 7 different colored flower garlands, and dressed in formal attire to express celebration and joy. In addition to flowers, she often wears various exquisite hair and inserting comb. The women of Xunpu create a colorful "miniature garden" with their unique aesthetic pursuit by decorating their heads. The dazzling flowers seem to be the finishing touch of their life, overshadowing the trivialities of daily work.
 
  
−
====Intangible Cultural Heritage Protection====
+
[7]张京楠, 蔡炯. 扎染在现代生活中的保护与传承——以白族扎染为例[J].商展经济, 2025, (24): 59-62.
  
−
Since the inclusion of the "Crab Pond Women's Customs" in the national intangible cultural heritage representative project list in 2008, with the dual promotion of the integration of "intangible cultural heritage" culture and tourism and the star effect, Zanhuawei has quickly become popular and developed a series of photo and makeup industries. From the perspective of semiotics, cultural consumption is a social and cultural activity that uses various symbols to showcase individual personalities, express self-worth judgments, and disseminate symbolic value cognition, achieving group symbolic value recognition. Moreover, "symbol" and "object" are closely related and inseparable, and non-material cultural products often require objects as carriers of symbols and visual forms of meaning. In this sense, the hairpin flower enclosure has gradually broken through the limitations of geographical and cultural circles, and its symbolic meaning and dissemination path have undergone significant reconstruction, transforming from a cultural identity within the community to a widely influential visual consumption symbol.
+
[8]https://baike.baidu.com/item/%E6%89%8E%E6%9F%93/2660805
  
−
In January 2024, the official Weibo account of UNESCO gave a thumbs up to Quanzhou Zanhua. On April 19th, "Quanzhou Sturgeon Pond: Head Garden Intangible Cultural Heritage Experience" was selected as one of the "Top 10 Innovative Cases of Intangible Cultural Heritage Tourism Experience in 2024" released by the China Tourism Research Institute. The unexpected popularity of Quanzhou hairpin flowers has brought the national intangible cultural heritage "Crab Pu Women's Customs", which is not well-known to outsiders, into the public eye. More and more tourists are experiencing the cultural spirit of "Crab Pu Women's Customs" and its aesthetic charm through Quanzhou police flower intangible cultural heritage tourism. This article attempts to analyze the stage construction of Quanzhou hairpin flower intangible cultural heritage tourism experience from the perspective of tourist experience (expected experience, on-site experience, reminiscence experience), sort out the innovative ideas of Quanzhou police flower intangible cultural heritage tourism in shaping tourist experience, and then explore the implementation path of innovative development of intangible cultural heritage tourism experience, providing useful reference for the development and operation of intangible cultural heritage tourism products.
+
[9]https://luopeitarx.com/blogs/article/what-is-tie-dye
  
−
Realizing that beauty is the ultimate password for sustained profitability in cultural tourism, from pursuing beauty to creating beauty, we have formed an innovative ecological chain for intangible cultural heritage tourism experience, which runs through the three stages of tourists' expected experience, on-site experience, and reminiscence experience. One is to promote experiential design through the pursuit of beauty. Conduct research on the aesthetic needs and motivations of tourists participating in intangible cultural heritage experiences, guide the design of aesthetic carriers such as intangible cultural heritage products, activities, and scenes, create aesthetic objects, and stimulate tourists' interest in participating in experiences. The second is to promote the excavation of intangible cultural heritage through "creating beauty". Encourage tourists to participate in the creation of beauty during the process of experiencing it, explore the connotation of intangible cultural heritage together with tourists, integrate intangible cultural heritage elements into modern life, and create new forms of intangible cultural heritage experience. The third is to achieve the inheritance and protection of intangible cultural heritage through "sharing beauty". Make good use of online media and social platforms to stimulate tourists' potential willingness to "share beauty", understand tourists' experience, feelings, and evaluations, explore new directions for innovation in intangible cultural heritage experience through interactive communication with customers, promote tourists' understanding of the value of intangible cultural heritage through feedback and flexible positive guidance, and stimulate the initiative of the whole society to inherit and protect intangible cultural heritage.
 
  
−
===Reference===
+
===Terms===  
  
−
1.Lin, Q., & Li, Y. (2025). 福建泉州蟳埔村簪花围头饰形制与装饰艺术特征研究 [A study on the form and decorative artistic characteristics of the Zanhua headdress in Xunpu Village, Quanzhou, Fujian]. 美与时代(上)[Beauty & Times], (09), 148–151. <https://doi.org/10.16129/j.cnki.mysds.2025.09.034>
+
1.扎染 tie-dyeing
−
2.Song, S., Lü, Y., & Chen, F. (2025). 蟳埔簪花图案的内涵与创新运用研究 [A study on the connotation and innovative application of Xunpu Zanhua patterns]. 西部皮革[West Leather], 47(13), 136–139. <https://doi.org/10.20143/j.1671-1602.2025.13.136>
 
−
3.Yan, R. (2025). 作为视觉符号的簪花围：拍照体验中的民俗主义与意义再建构 [The Zanhua headdress as a visual symbol: Folklorism and meaning reconstruction in the photo-taking experience]. 粤海风[Yuehai Style], (05), 30–37. <https://doi.org/10.16591/j.cnki.44-1332/i.2025.05.010>
 
  
−
===Terms===
+
2.非物质文化遗产 intangible cultural heritage
  
−
1.Hairpin flower adornment 簪花
+
3.扎缬 binding
−
2.Xunpu lady 蟳埔女
+
 
−
3.Bone marrow 骨笄
+
4.撮缬 pleating
−
4.Mazu 妈祖
+
 
−
5.“thick toed” hairstyle “粗脚头”发式
+
5.夹缬 cliping
−
6.Court Ladies Adorning Their Hair with Flowers 《簪花仕女图》
+
 
−
7.hair bun 发髻
+
6.绞缬 twisting
−
8.official rank 官阶
+
 
−
9.Bun 圆髻
+
7.打结 knotting
 +
 
 +
8.折叠串缝 folding and sewing
 +
 
 +
9.鹿胎缬 deer placenta valerian
 +
 
 +
10.玛瑙缬 overlapping spots valerian like agate
 +
 
 +
11.叠胜缬 continuous net-like patterns in four directions
 +
 
 +
12.四瓣花罗 four-petal pattern
 +
 
 +
13.七宝纹 shippou pattern
 +
 
 +
14.花鸟纹 pattern with birdflower design
 +
 
 +
15.茜草 madder
 +
 
 +
16.赭石 ochre
 +
 
 +
17.扎花 tie-flowering
 +
 
 +
18.浸染 dip-dyeing
 +
 
 +
19.拆线 stitch removal
 +
 
 +
20.土靛 soil indigo
 +
 
 +
21.湿靛 wet indigo
 +
 
 +
22.板蓝根 isatis root
  
 
===Questions===
 
===Questions===
  
−
1. As a national intangible cultural heritage, how do the form and decoration of the Zanhua Wei headdress reflect the maritime cultural characteristics of the Xunpu region in Quanzhou?
+
1. What is Bai Tie-dyeing?
−
2. Historically, how did the Xunpu Zanhua custom integrate traditions from the Han culture of the Central Plains with indigenous Min-Yue culture, ultimately forming its unique appearance?
+
 
−
3. Briefly describe the technical essentials and cultural significance of the two core steps—“hair coiling” and “decoration”—in the crafting process of the floral hairpin headdress.
+
2. What is the production process of tie-dyeing?
−
4. What social functions and cultural symbolic meanings beyond aesthetics does the floral hairpin bear in the social life of women in Xunpu?
+
 
−
5. As contemporary “flower-adorned headdresses” transition from community cultural symbols to mass tourism consumption icons, what core issues concerning intangible cultural heritage (ICH) preservation and development does this process involve?
+
3. What are the main raw materials used in Bai Tie-dyeing?
−
6. From the perspective of “innovative ICH tourism experiences”, what replicable pathways does the successful practice of Quanzhou flower-adorned headdresses offer?
+
 
 +
4. How can we inherit Bai Tie-dyeing?
  
 
===Answers===
 
===Answers===
  
−
1.The design and ornamentation of the flower-adorned headdress profoundly reflect the survival environment and cultural adaptation of Quanzhou's Xunpu Village, where the sea serves as their field. In form, the core practice involves combing all long hair backward into a flat, round bun secured tightly. This not only facilitates coastal labor by preventing hair from being tangled by sea winds or caught in fishing nets, but also adapts to the windy, sandy maritime climate through the absence of bangs and a clean forehead—a manifestation of practical rationality. In terms of ornamentation, both materials and symbolism are intrinsically linked to the sea: early floral hairpins were often crafted directly from polished marine products like seashells and coral, establishing a distinctive aesthetic rooted in oceanic materials. Its spiritual core is deeply intertwined with maritime folk beliefs such as Mazu worship. For instance, during significant celebrations like the “Birthday of Mazu”, the floral hairpin headdress is essential attire for divine offerings and processions. Thus, the floral hairpin headdress transcends mere aesthetic ornamentation, embodying as a material carrier the “local knowledge” that synthesizes productive function, ecological adaptation, and maritime faith.
+
1. Bai Tie-dyeing is a traditional folk craft of the Bai people in Zhoucheng Village, Dali, with a history dating back to the Qin and Han dynasties. It was inscribed on the national intangible cultural heritage list in 2006, integrating culture and art, and featuring fresh and elegant blue-and-white tones.
−
2. The origins of the flower-pinning custom in Xunpu trace back to the ancient ritual of adorning hair with flowers in Han Chinese culture. The practice of decorating hair with fresh flowers, gold, silver, and silk emerged during the Han Dynasty, reaching its peak during the Tang and Song periods, as vividly depicted in the “Ladies Adorning Their Hair with Flowers” painting. This tradition migrated southward to Fujian with the relocation of Central Plains gentry. In Quanzhou's Xunpu region, the custom underwent profound fusion with the indigenous marine culture of the Minyue people and the multicultural influences brought by Quanzhou's maritime trade during the Song and Yuan dynasties. This integration manifested as follows: while in form, it absorbed the ancient Minyue tradition of “shell ornamentation”, developing distinctive shell-carved hairpins and hair combs. Combined with exotic flowers (such as jasmine and gardenia) and aesthetic elements introduced via the Maritime Silk Road, this evolved into a complex and dazzling visual system symbolized by the “flower-adorned headdress”. Thus, it represents the long-term interaction within a specific geographical space of three cultural strands: the ritual customs of Central Plains agrarian civilization, the maritime tribal culture of Minyue, and the urban fashions of overseas trading cities.
 
−
3. Hair-Styling Technique: Centered on bone hairpins for sectioning, red cord binding, and spiral coiling. The technical essence lies in using bone hairpins as a supporting framework. Through spiral coiling and red cord fixation, a stable, flat, and full circular base is formed. This base (the bun) is called the “coarse foot head”. Its sturdiness ensured practicality for labor in maritime environments, while its circular shape embodied traditional cultural concepts of “perfection” and “harmony”.
 
−
Decorative Artistry: Follows a layered logic of “base-body-accent”. First, floral garlands encircle the bun to create a full foundation, with quantity (1-2 garlands for daily wear, 5-7 for celebrations) distinguishing routine from festive occasions. Second, a tortoiseshell comb secures the bun while serving as ornamentation. Derived from the sea, tortoiseshell symbolizes status and auspiciousness. Finally, three-dimensional accents like floral hairpins, hairpins, and gold-tipped pins create a “cluster of brocade” effect through contrasting colors and staggered shapes. This entire adornment process transforms the head into a “mobile garden”, embodying the aesthetic concept of “unity between heaven and humanity”—a microcosmic simulation of the relationship between humans and nature.
 
−
4. Age and Life Stage Markers: Girls begin styling their hair with floral pins around age 11 or 12, marking their entry into adolescence. Floral pins worn during weddings are particularly elaborate, forming a central element of marriage rituals.
 
−
Social Identity and Virtue Symbol: The flower-adorned headdress serves as an ethnic identifier for the “Xunpu women”, symbolizing female diligence, resilience, and domestic competence. Its intricate yet orderly design visually embodies the community's expectation of women cultivating both inner and outer virtues.
 
−
Vessel for Emotions and Spirituality: The choice of flowers conveys personal sentiments (such as love wishes), while collective flower-pinning activities (like Mazu processions) reinforce community identity and maritime faith.
 
−
5. Local communities (especially middle-aged and elderly women) serve as cultural custodians—from skill demonstrators and hairstylists to folklore interpreters. Confirming their central role and ensuring fair returns from tourism revenue are key to sustainable preservation. For tourists, the significance of hairpin-adorned headdresses has shifted from representing “the lifestyle of women in the coastal villages” to becoming a “classical aesthetic experience” and a “photo prop”. The deeper connotations it carries—such as maritime history and communal memory—may be diluted in superficial consumption. Effectively conveying its cultural depth through tourism experience design presents a major challenge. The tourism boom attracts younger generations to return home and engage in related industries, bringing new inheritors and dissemination methods to intangible cultural heritage. However, this may also make the motivation for inheritance more economically driven.
 
−
6. Precisely addressing tourists’ dual demands for “visual spectacles” and “cultural immersion” in the social media era, the flower headdress has been reimagined as a “wearable cultural symbol” blending Eastern aesthetic charm with high interactivity. Leveraging celebrity influence and aestheticized dissemination through platforms like Xiaohongshu and Douyin, it has successfully ignited tourists' desire for photo opportunities and aesthetic aspirations.
 
  
 +
2. The main steps of tie-dyeing include painting patterns, twisting and tying, soaking, dyeing the fabric, steaming, drying in the sun, thread removal, rinsing and grinding the fabric. Among them, the two main processes are tying flowers and soaking dyeing.
 +
 +
3. The main raw material of Bai Tie-dyeing is indigo or soil indigo, commonly known as isatis root, a natural plant dye.
 +
 +
4. Inheriting Bai Tie-dyeing requires innovating high-end and mass products by expanding the industrial chain and integrating with modern aesthetics. It also requires applying AIGC, VR, AR and various blockchain technologies for digital transformation and IP protection and optimizing marketing models while encouraging young people to learn the craft through related programs and collaborations.
  
 
==期末论文==
 
==期末论文==
  
−
==泉州簪花==
+
===白族扎染===
 +
 
 +
===目录===
 +
 
 +
第一章总论
 +
 
 +
1.1 研究背景
 +
 
 +
1.2 研究意义
 +
 
 +
第二章 历史渊源与特点
 +
 
 +
2.1 起源
 +
 +
2.2 不同历史时期的发展特点
 +
 
 +
2.3 生产流程
 +
 
 +
2.4 染料种类及特性
 +
 
 +
第三章继承的困境
 +
 
 +
3.1 缺乏继承者
 +
 
 +
3.2 缺乏创新
 +
 
 +
3.3 落后的营销方式
 +
 
 +
第四章扎染传承的解决方案
 +
 
 +
4.1 扎染高端产品的创新
 +
 
 +
4.2 传播方式的创新
  
−
==目录==
+
4.2 AIGC系统的应用
  
−
1.1泉州簪花
+
参考文献
−
1.1.1引言
+
 
−
1.1.2历史渊源
+
术语
−
1.1.3制作工艺
+
 
−
1.1.4文化意义
+
问题
−
1.1.5社会功能
+
 
−
1.1.6非遗保护
+
答案
−
1.2参考文献
 
−
1.3术语
 
−
1.4问题
 
−
1.5答案
 
  
 
====引言====
 
====引言====
  
−
簪花围头饰发源于福建省泉州市丰泽区蟳埔村，属于我国非物质文化遗产。作为泉州民俗服饰文化的重要组成部分，蟳埔簪花习俗以其独特的簪花头饰与阔袖上衣展现出古朴韵味，同时承载着海洋记忆与民间传统。簪花围头饰装扮层次丰富，被誉为“行走的花园”，在形制
+
=====研究背景=====
−
与装饰艺术上展现出独特的地域特色和文化内涵。蟳埔女的簪花发式作为文化遗产的独特构成，散发着独特魅力与深厚历史气息，凝结着地方民俗、历史记忆与文化基因。
 
  
−
2008年，以“簪花围”为代表的蟳埔女习俗被列入第二批国家级非物质文化遗产名录，其文化价值已获得官方与社会广泛认同。这不仅是装饰性的习俗，更是泉州历史文化的一种生动体现。对其进行深入挖掘、保护与合理开发，将使这一古老文化焕发新生机，在新时期绽放新光彩，进一步丰富人们的精神世界，推动文旅等相关产业发展，为地方文化繁荣与经济提升贡献力量。
+
非物质文化遗产是一个国家、一个民族的优秀传统文化。5G时代打破了直播技术壁垒。非物质文化遗产也通过直播实现了快速发展。大理周城村白族扎染技艺经过历史的提炼，已成为当地特色文化的象征。新时代中，传统非物质文化遗产技艺需要适应新的环境，做出新改变。
  
−
====历史渊源====
+
=====研究意义=====
  
−
簪花，作为中华民族传统而古老的头饰之一，始于汉代、兴于唐朝、发展于宋朝。唐朝的《簪花仕女图》清晰地展示了女子身着华丽服饰、头戴簪花时的优雅姿态。在蟳蜅服饰文化中，簪花习俗别具一格，承载着独特内涵。据传，汉朝时人们就会用鲜花、金银、绸绢等制成假花来装饰发髻，具美颜与礼仪之效。蟳蜅女的簪花习俗充满传奇色彩，一种说法是一位蟳蜅女原为宫中佳人，获皇帝御赐簪花，并将这种习俗代代传，增添神秘尊贵气息；另一种说法与当地海洋文化有关，即男性渔民以簪花赠与女性，表示敬仰祝福。最初簪花多采用海贝、珊瑚等材质进行匠心打造。随着时间推移，簪花融合生花与熟花、单支花卉与花串，其中以素馨、茉莉等花卉最为常见，并且可随四季与喜好变换。同时，簪花是蟳蜅服饰的重要装饰，与当地服饰完美融合，既展现了蟳蜅女独特魅力，也彰显出蟳蜅独特的服饰文化。
+
从实践角度看，非物质文化遗产作为代表一个国家或地区文化特色的精神遗产，对当前倡导乡村文化振兴、形成乡村凝聚力具有促进作用。白族扎染是一个有着上百年历史的传统村落，文化底蕴深厚。扎染是其最突出的非物质文化遗产之一，承载着不同世代村民的集体记忆和情感诉求。为使扎染摆脱“被抛弃”的命运，本文对扎染进行了历史溯源和发展现状探寻，以求在当代创新性发展扎染。这可以提高人们对非物质文化遗产保护的认识，也可以为其他非物质文化遗产的开发和保护方向提供一定的启示。 
  
−
====制作工艺====
+
====历史渊源====  
  
−
蟳埔女习俗簪花围技艺主要步骤包括材料准备、盘发、装饰、成型。
+
=====起源=====
  
−
盘发工具包括梳子、长度适中的红绳、骨笄等，必要时可准备假发。装饰部件包括花串、边花、小插梳、玳瑁梳、钗仔针、金铳针、金花、金剑等。花串宜选择不同花种，数量宜以1串～5串；边花可按需选择搭配，数量至少为1朵。
+
扎染是周城白族的一种传统民间工艺，从秦汉时期发展至今。自明末清初以来，扎染手工艺在该地区得到了很好的传承和发展，将文化和艺术融为一体。2006年，云南省大理白族扎染技艺被文化部列入国家级非物质文化遗产名录[5]。
  
−
先将头发梳理顺直，连同刘海全部往后梳，保持额头的光洁整齐，以约耳廓处为分发线起点，用骨笄将头发分为前后两部分。先将后部分头发梳理顺直，用红绳系起半高马尾；梳理前部分头发，用骨笄支撑固定住前部分头发，再将前部分头发合并至后部分头发，前后两部分头发用预留的红绳合扎成同一个马尾，剩余的红绳自然垂放于头顶中。将长马尾辫拧成一股细长绳状，再将绳状马尾一圈一圈螺旋式绕到手上，发圈自然由大及小，接着以马尾根部为中心，将发圈由小及大、由里及外，一圈圈盘按成扁平螺旋状圆形发髻，紧接着抽出骨笄固定圆髻。剩余马尾发尾一小截头发，与留存的红绳合拧缠绕、将其固定环绕于马尾根部隐藏在花串之间或花串与发髻之间的间隙中，插入边花，以增加头饰的层次感和丰富度，完成边花佩戴。边花的颜色、形状和数量的选择要与花串相协调，并与花串形成和谐美感。宜选用颜色明艳、形状各异的边花，以体现整体花饰的多彩、丰富。在发髻前侧面戴上玳瑁梳，玳瑁梳针脚簪插于发髻中心辅助固定，使玳瑁梳与整体簪花融为一体相得益彰。在发髻的顶部或侧面，插上钗仔针；金花、金剑等其他金饰可按需佩戴。
 
  
−
====文化意义====
+
周城作为“白族扎染之乡”，坐落于滇藏高速公路沿线，地处大理古城以北，面积达7平方公里,是云南省最大的自然村。该村聚居着1500余户白族居民，总人口超8868人，几乎全是白族人，也是大理规模最大的白族村寨。作为对外开放的白族民俗旅游胜地，周城凭借独特的文化底蕴与民俗风情，吸引着各地游客慕名到访。
  
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蟳蜅簪花是当地服饰文化中极具特色的部分，不同花卉均蕴含独特寓意，如牡丹象征富贵，梅花寓意傲骨清风，兰花彰显清新，菊花代表节操与坚韧不拔，佩戴者可借此寄托情感，表达对美好品质精神的追求。簪花本身也是吉祥象征，寓意着幸福美好，被当作祈福庆祝之物，可祈愿好运降临。
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=====不同历史时期的发展特点=====
  
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此外，簪花作为爱情的象征和祝福，见证着蟳蜅女婚姻的美满幸福。在蟳蜅女的传统婚俗里，新婚当天，新娘身着蓝布衫、宽裤等传统服饰，头戴精美花环，簪花与服饰相互映衬，尽显美丽。这种风俗不仅延续传统婚俗，更是蟳蜅文化的传承展现，承载着人们对美好生活的期许。簪花于古代兼具多重意义，在贵族中是身份象征，玉石珠宝簪花更是彰显地位。蟳蜅村中，簪花成为女性勤劳、坚韧和美丽的象征。蟳蜅女以簪花展示独特魅力，赢得社会认可。簪花的象征意义在不同情境下各有侧重，宋朝簪花还具有官阶区分功能，不同花色、花卉、簪法及材质颜色对应不同官阶。而蟳蜅簪花虽不像宋朝簪花有官阶区分功能，却体现着蟳蜅女的独特文化内涵，与蟳蜅女传统服饰相搭配，使得簪花成为蟳蜅服饰文化中不可或缺的一部分，展示着蟳蜅女的独特魅力与价值。
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唐真元十六年，南诏舞蹈团赴长安献演，其身着的服饰以鸟兽草木为纹样，采用八色混合皮革呈现图案，实为扎染工艺的早期应用成果。目前已知最早的扎染实物出土于新疆吐鲁番阿斯塔纳，为距今约两千年的汉代织物残片。该残片上的缬点形似鱼子酱，大小匀整、排布规整且色泽鲜亮，直观印证秦汉时期扎染技艺已发展至较高水平。由此可推断，我国手工印染技术的起源应早于秦汉，早期实物未被发现，大概率归因于纺织品难以长期保存，而非彼时无此类印染织物。
  
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簪花作为头饰，是蟳蜅服饰文化的重要元素。簪花一开始便展现出蟳蜅女的高雅品味与生
 
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活情调，蟳蜅女对簪花上的鲜花、假花会进行精心挑选搭配，从色彩到形状都追求完美，它同样也是女性展示柔美秀丽的载体。在蟳蜅村，女孩子从小留长发，自十一二岁起会将秀发精心盘于脑后，插满鲜花或假花，形成“粗脚头”发式。这种发式美观大方，承载着蟳蜅女对美的独特理解与追求。簪花与蟳蜅女蓝布衫、宽裤等传统服饰相得益彰，共同塑造出蟳蜅女独特的形象。簪花不仅是头饰，更体现出蟳蜅女对美的执着追求，彰显着蟳蜅服饰文化的魅力。
 
  
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在海洋信仰层面，头戴鲜花亦成为沿海族群的文化符号。每年农历正月廿九日海神妈祖寿诞之际，福建沿海广泛举行“天香”民间庆典，以鲜花敬奉神灵的习俗在泉州地区颇具影响力。其中，蟳埔女簪花巡游的传统延续至今，这一仪式不仅是对海洋神灵的敬畏表达，更通过集体性的文化实践，强化了沿海族群对海洋文明的精神认同，形成自然崇拜与地域文化交织的独特景观。
+
历经魏晋南北朝的战乱与分裂，统一而强大的隋唐给人们带来安宁富足的生活，也给扎染服装带来发展繁荣的机遇。当时，扎染技巧与印染工艺都达到了很高水平，其技艺百变，图案万千。有扎缬、撮缬、夹缬、绞缬、打结、折叠串缝等巧夺天工的扎缬技艺；有鹿胎缬、玛瑙缬、叠胜缬、四瓣花罗、七宝纹、花鸟纹等千姿百态的图案纹样。印染工艺也取得了突破性的发展，利用植物染料、矿物染料染制出了万紫千红的色彩。常用茜草染红色，蓝靛染蓝色，用赭石染土黄色。例如，出土的唐代“四瓣花罗”采取散点排列、折叠串扎的技法，橘黄色的花瓣在深棕色的底色上显得亮丽秀美。保存于日本博物馆的唐代七宝纹扎染，采用折叠串针扎法，构成网状组织的铜钱花纹，非常漂亮。还有用绞针法缝扎成的花鸟纹，构图精美，线条流畅。这些扎染的衣料，受到人们广泛喜爱，上至达官贵人，下至百姓人家，使用扎染蔚然成风，使扎染服装在唐代得到空前的发展与盛行[6]。
  
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====社会功能====
+
历史演变到了宋代，扎染已经非常普及，扎制技艺也日臻完善。做工精美的扎染用品成为日常生活中常用的服饰品。但宋王朝自奉节俭，多次下诏禁止生产或限制使用扎染等染缬品。皇室的禁令一方面说明了扎染等印染物品已空前的发展和普及；另一方面，三令五申的禁止，沉重打击了正蓬勃发展的民间扎染，致使不少扎染技法失传，导致盛行于隋唐的这项古老技艺受到致命摧残，就此衰落下来。
 +
 +
=====生产流程=====
  
−
1. 实用功能
+
扎染的制作方法别具一格，旧籍生动地描述了古人制作扎染的工艺过程：“‘撷’撮采线结之，而后染色。即染，则解其结，凡结处皆原色，余则入染矣，其色斑斓。”扎染的主要步骤有画刷图案、绞扎、浸泡、染布、蒸煮、晒干、拆线、漂洗、碾布等，其中主要有扎花、浸染两道工序，技术关键是绞扎手法和染色技艺。染缸、染棒、晒架、石碾等是扎染的主要工具。
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簪花围的形制构造深度贴合蟳埔村的地理环境及生产生活需求。早期蟳埔男性多以出海谋生为业，勤劳的蟳埔女性除承担家务劳作外，还需前往海边采收牡蛎。由于海边自然环境风沙较大，且她们需频繁进行低头捡拾牡蛎、弯腰撒网捕鱼等动作，于是蟳埔女选择了不留刘海、将长发整体盘绕于脑后的习惯。簪花围通过多根簪钗固定于发髻的结构，具备较强的稳固性，能有效帮助渔妇在劳作过程中抵御海风侵袭，又可避免头发被海水浸湿或缠绕于渔网，充分体现了实用功能与地域文化的有机统一。
 
  
−
2. 审美功能
+
扎花，原名扎疙瘩，即在布料选好后，按花纹图案要求，在布料上分别使用撮皱、折叠、翻卷、挤揪等方法[9]，使之成为一定形状，然后用针线一针一针地缝合或缠扎，将其扎紧缝严，让布料变成一串串“疙瘩”。
−
蟳埔女对鲜花特别钟爱，她们将鲜花视为重要的装饰元素。其簪花素材主要包含“生花”与“熟花”两类：前者特指各类应季开放的自然花卉；后者则为装饰性绢花，俗称“塑料花”。她们将花环、鲜花与绢花围绕着螺旋髻进行层层装饰，平常日子戴上1-2串花环。在节庆或喜庆场合（如妈祖诞辰），蟳埔村女性通常会投入数小时精心妆扮头饰，要戴5到7串各种不同颜色的花环，并身着盛装，以表示欢庆和喜悦。除了鲜花外还经常佩戴各种精致的发
 
−
簪与插梳。蟳埔女们以独特的审美追求，将头上的装饰打造成五彩斑斓的“微型花园”。绚烂的花朵仿佛成为她们生活画卷的点睛之笔，以盖过日常工作的琐碎。
 
  
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====非遗保护====
+
浸染，即将扎好“疙瘩”的布料先用清水浸泡一下，再放入染缸里，或浸泡冷染，或加温煮热染，经一定时间后捞出晾干，然后再将布料放入染缸浸染。如此反复浸染，每浸一次色深一层，即“青出于蓝”。缝了线的部分，因染料浸染不到，自然成了好看的花纹图案，又因为人们在缝扎时针脚不一、染料浸染的程度不一，带有一定的随意性，染出的成品很少一模一样，其艺术意味也就多了一些[8]。
  
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自2008年“蟳埔女习俗”被列入国家级非物质文化遗产代表性项目名录后，在“非遗”文旅融合发展与明星效应的双重推动下，簪花围快速走红并发展出一系列写真妆造产业。从符号学的角度来看，文化消费是一种以各种符号彰显主体个性、表达自我价值判断，并且传播符号价值认知、实现群体符号价值认同的社会文化活动。并且，“符”与“物”紧密联系、不可分割，非物质形态的文化产品常常需要以物为符号的载体和视觉化的意义形式。在这个意义上，簪花围逐渐突破地域与文化圈层的限制，其符号意义与传播路径发生了显著重构，从蟳埔社区内部的文化标识转变为具有广泛影响力的视觉消费符号。
+
=====染料的种类和特性=====
  
−
2024年1月，联合国教科文组织官方微博发文点赞泉州簪花。4月19日，“泉州鱘埔:头上花园非遗体验”入选中国旅游研究院发布的“2024年非遗旅游体验创新十佳案例”。泉州簪花的“意外”走红，让外乡人不太熟知的国家级非遗“蟳埔女习俗”成功进入大众视野，越来越多的游客通过泉州警花非遗旅游感受“蟳埔女习俗”的文化精神，体验它的审美逸趣。本文试以游客体验的视角，通过分析泉州簪花非遗旅游体验在其历时过程（预期体验、在场体验、追忆体验）中的阶段建构，梳理泉州警花非遗旅游在塑造游客体验的创新思路，进而探析非遗旅游体验创新发展的实现路径，为非遗旅游产品的开发和运营提供有益借鉴。
+
主要植物为靛蓝或土靛蓝，民间俗称“板蓝根”。在周城，用于染布的靛蓝染料全部由村民自己种植和加工。除了满足本村的布料染色需求外，剩余的靛蓝也销往其他地区。
  
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意识到美是文旅持续盈利的终极密码，从追求美到创造美，形成非遗旅游体验创新生态链，贯穿游客预期体验、在场体验及追忆体验三阶段。一是以“追求美”推动体验设计。调研游客参与非遗体验的审美需求动机，指导非遗产品、活动、场景等美的载体的设计，创造审美对象，激发游客参与体验的兴趣。二是以“创造美”推进非遗挖掘。鼓励游客在体验美的过程中参与美的创造，与游客共同深挖非遗内涵，将非遗元素融入现代生活，创造新的非遗体验形式。三是以“分享美”实现非遗传承与保护。善用网络媒体、社交平台激发游客“分享美”的潜在意愿，了解游客体验感受及评价，通过与顾客的互动交流探究非遗体验创新的新方向，通过反馈及柔性正向引导，促进游客对非遗价值的理解，激发全社会传承保护非遗的主动性。
+
板蓝根是一种天然植物染料。生产过程中不添加任何化学成分，对环境不造成污染。从中提取的无毒染料符合可持续发展的原则。主色调是蓝色和白色。染色的织物有蓝带白纹或蓝带白纹。色调清新淡雅，具有独特的韵味，体现了白族纯洁温柔的审美特征。此外，通过反复浸泡，可以形成各种深浅不一的蓝色。花与地面之间往往有一定的过渡梯度效应，有许多冰裂缝，自然形成。而植物靛蓝扎染产品颜色鲜艳，色牢度好，不易掉色。
  
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====参考文献====
+
====传承困境====
  
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[1]宋深江,吕亚持,陈飞峰.蟳埔簪花图案的内涵与创新运用研究[J].西部皮革,2025,47(13):136-139.DOI:10.20143/j.1671-1602.2025.13.136.
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=====缺乏传承者=====
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[2]林沁,李永轮.福建泉州蟳埔村簪花围头饰形制与装饰艺术特征研究[J].美与时代(上),2025,(09):148-151.DOI:10.16129/j.cnki.mysds.2025.09.034.
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[3]闫睿欣.作为视觉符号的簪花围：拍照体验中的民俗主义与意义再建构[J].粤海风,2025,(05):30-37.DOI:10.16591/j.cnki.44-1332/i.2025.05.010.
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扎染技艺在传承过程中存在出现断层的风险。老一辈人熟练掌握扎染工艺并以此为生，而新一代年轻人并没有系统学习过扎染技艺，且扎染工艺程序复杂、耗费时间长，所带来的收益也仅能支撑生计。年轻人并不愿意耗费大量的时间与精力学习祖先传下来的技艺，由此导致传统技艺传承出现断层风险。核心矛盾是技艺传承所需的长期投入与当代年轻人职业追求和生存压力之间的矛盾[7]。
−
[4]福建省泉州市地方标准 DB 3505/T 16—2024
+
 
 +
=====缺乏创新=====
 +
 
 +
在现今鼓励创新谋发展的年代，扎染作为一种传统染色工艺，其产品的创新不足，主要表现为低端产品同质化严重，高端产品稀缺。在这项技艺诞生之初，扎染产品主要为民族服饰、桌布、桌旗等，主要用于满足本地市场需求及出口国外。2010 年后，出口订单较大幅度减少，商人不得不开拓国内市场，研发系列旅游产品。截至 2020 年，大理地区的扎染产品主要包括桌布、T 恤、连衣裙、围巾、桌旗、少量高端民族服装，其余周边产品有抱枕、手袋、玩偶、茶杯垫、鞋、帽、袜、门帘等。目前周边产品处于研发初创期，尚未大面积销售，而主打的旅游产品——T 恤、连衣裙等服装，成为大理古城、喜洲镇、双廊镇最主要的低端扎染产品。
 +
 
 +
作为受众范围最广的低端产品，各店铺的服饰主要靠进货销售，产品风格、图案、形式相差无几，同质化问题严重。产品生产与销售脱轨，缺少新意与变革，扎染低端产品市场未得到充分丰富，其艺术形式也未得到充分展现，这是创新动力不足所致。产品缺乏创新的另一表现是高端产品稀缺。艺术精品是传统民间工艺的最高表达，能够充分体现大理扎染传承千年的技艺。大理的高端扎染产品，如传统手工民族服饰、复杂精美的系列桌旗与桌布、潜心创作的艺术作品，仅在少数店铺、作坊或璞真博物馆有供欣赏或销售。扎染的各式扎花图案达上千种，但呈现出来的并不多。不论是商人还是本土白族居民，都没能很好地利用这项工艺原有的技艺，把高超的扎染工艺带入大众眼帘，把扎染彻底完整地呈现。这是高端产品稀缺性的特点，也是创新动力不足所致。
 +
 
 +
若能把扎染技艺精髓与高端产品相结合，不仅有利于提高扎染知名度，还能将其顶级艺术精髓回馈于扎染低端产品的开发与创新，间接提高自身经济造血能力。因此，产品创新问题有待进一步解决。
 +
 
 +
=====落后的营销方式=====
 +
 
 +
许多当地的扎染从业者都在从事网上业务。成员以35岁以上的中年人和周城村的老人为主。他们大多是文盲或会读书但通过互联网销售产品的人。这种态度表明缺乏理解、冷漠和精力。因此，大多数主要的扎染生产商没有网上商店，也不从事网上经营活动。
 +
 
 +
一些当地的外国商人目前正在开发网络市场，例如开设网上商店或在各种流行的社交媒体平台上进行推广和广告。在探索客户和开展在线业务的同时，他们也为实体店带来了流量。但由于产品种类单一、线上运营专业性不足等原因，部分商家的线上运营效果并不理想，需要改进。总体而言，无论是线上还是线下，具体的商业模式都比较落后，扎染的潜力没有得到充分发挥。该产品的优势尚未带来可观的经济效益，因此不可能进一步投入促进扎染的发展。
 +
 
 +
====扎染传承的解决方案====
 +
 
 +
=====扎染高端产品的创新=====
 +
 
 +
除了服装之外，大众产品制造业应该利用扎染的图案和设计，结合现代消费者的消费偏好，扩大产业链。这些设计可以应用于各种产品类别，如帆布袋、帽子、杯垫、婚纱、艺术卷轴和家居用品。这种做法确保了产品既具有传统工艺之美，又具有现代审美情趣。高端产品和艺术品代表了文化表达的顶峰。高端产品的创造应该深入挖掘扎染的历史根源，捕捉其千年文化遗产的精髓，并将其提炼以供当代欣赏[4]。
 +
 
 +
=====传播方式的创新=====
 +
 
 +
由于周城村村民受地理环境和少数民族传统思想影响，村民的媒介素质和文化素养都不高，再加上他们没有很高的媒介意识，导致他们的媒介学习成本较高[3]。
 +
 
 +
非遗直播的推广与传播，尤其是扎染文化的传播，离不开直播从业者对非遗文化的深度理解与主动践行。这些借助直播媒介的传播者，在扎染文化的普及与推广中起着关键作用。从群体适配性来看，年轻人对现代媒体的接受度更高，且学习新事物的能力更强，无疑是非遗直播主播的优质潜在群体。然而，现实困境是，年轻一代尚未系统掌握扎染传统技艺。这种知识与技能的断层，使得非物质文化遗产，特别是扎染的直播推广工作面临诸多挑战，推进过程困难重重。
 +
 
 +
为突破传承瓶颈，亟待出台相应策略，激励年轻一代投身传统扎染技艺的学习与传承。培养周城人民的直播意识以推广扎染，针对不同群体的能力特征与认知水平，开展分层分类的直播专项培训。面向中老年从业者聚焦基础操作与工艺展示场景的实操教学，面向年轻群体强化内容策划、互动运营与新媒体传播等进阶技能培育，通过适配性培训降低参与门槛，夯实直播推广的能力基础。村民可开展线下实操工作坊，以手机基础操作与直播流程简化教学为核心内容，涵盖一键开播、自动回复设置等实用功能培训，辅以方言讲解与图文手册提升教学适配性，重点开展工艺展示型直播培训，通过扎花、浸染等核心工序的实时演示，结合非遗相关知识点的口述传播，强化直播内容的专业性与文化性。
 +
 
 +
=====人工智能系统的应用=====
 +
 
 +
在扎染的数字化转型和创新实践中，人工智能生成内容技术（AIGC，Artificial Intelligence Generated Content）可以发挥核心赋能作用。该技术通过收集传统扎染图案进行数字化建模，并构建专用的深度学习数据库，能够准确提取扎染过程中独特的纹理和色谱。然后，它可以根据用户的语义需求智能地生成多样化和创新的模式。这种方法不仅显著提高了图案迭代的效率，满足了个性化定制的需求，而且促进了传统工艺符号与现代审美趋势的深度融合，打破了传统图案创作的时空局限。
 +
 
 +
目前，3D模型主要应用于文化遗产的展示与宣传，为原本难以接触的珍贵文物提供虚拟情境体验。在融合增强现实（AR）与拓展现实（XR）技术的3D模型世界中，用户可通过操控虚拟物体进行探索与练习，从而获得更具互动性与沉浸感的学习体验[1]。
 +
 
 +
在体验创新方面，可以建立虚拟扎染互动平台。利用虚拟现实（VR）技术，可以完全复制整个扎染过程，从设计构思、扎染操作到染色、定色，让用户沉浸在工艺创作中。同时结合增强现实技术（Augmented Reality），实现图案的实时预览和效果的动态调整，进一步优化定制体验的直观性和便利性。
 +
 
 +
区块链技术的引入，对于扎染数字化转型阶段文化价值的留存与知识产权的守护至关重要。通过该技术，数字扎染作品与实体扎染产品均可获得专属且不可篡改的数字身份标识。产品全生命周期中的核心信息：原料来源追溯、工艺操作流程、所蕴含的文化内涵等，都能被完整记录。这一做法既体现了非物质文化遗产技艺的传承脉络，又保护了知识产权，有效规避了盗版与侵权问题，进而为扎染文化在当代文创产业、跨界合作等领域的拓展延伸，筑牢可靠的价值根基。
 +
 
 +
通过增强现实和虚拟现实技术的融合，用户可以通过手机或虚拟现实设备实时体验扎染图案在棉、丝、麻等不同材质、不同光照条件下的呈现效果。同时，虚拟交互平台可以让用户模拟整个扎染过程，包括扎染、染色、漂洗。这一过程不仅增强了工艺的形象化，丰富了用户体验，而且促进了非物质文化遗产相关知识的互动传播。这种沉浸式参与模式突破了传统静态展示的局限，为非物质文化遗产数字化转型提供了新的动态传播路径[2]。
 +
 
 +
===参考文献===
 +
 
 +
[1] Tao C, Hong X. A three-dimensional visualization model for intangible heritage of tie-dye handicrafts[J]. npj Heritage Science, 2025, 13(1): 648-648.
 +
 
 +
[2] 韩美仪. AIGC技术在自贡扎染文创设计中的应用研究[J]. 西部皮革, 2025, 47(20): 119-121.
 +
 
 +
[3] 刘静, 陈俞颖, 崔嘉惠, 李露璐. 非遗直播的现实困境与发展路径探究——以大理周城村白族扎染为例[J]. 传播与版权, 2021, (09): 97-99.
 +
 
 +
[4] 钱美琴.扎染的发展现状及对策研究——以云南大理为例[J].大众标准化, 2021, (16): 51-54.
 +
 
 +
[5] 谢兵. 周城扎染研究综述[J]. 西部皮革, 2017, 39(14): 113-114.
 +
 
 +
[6] 叶佑天, 刘超, 胡思斌. 浅谈扎染服装的历史、现状、发展[J]. 美与时代, 2003, (01):49-51.  
 +
 
 +
[7] 张京楠, 蔡炯. 扎染在现代生活中的保护与传承——以白族扎染为例[J].商展经济, 2025, (24): 59-62.
 +
 
 +
[8] https://baike.baidu.com/item/%E6%89%8E%E6%9F%93/2660805
 +
 
 +
[9] https://luopeitarx.com/blogs/article/what-is-tie-dye
  
 
===术语===
 
===术语===
  
−
1.Hairpin flower adornment 簪花
+
1.扎染 tie-dyeing
−
2.Xunpu lady 蟳埔女
+
 
−
3.Bone marrow 骨笄
+
23.非物质文化遗产 intangible cultural heritage
−
4.Mazu 妈祖
+
 
−
5.“thick toed” hairstyle “粗脚头”发式
+
24.扎缬 binding
−
6.Court Ladies Adorning Their Hair with Flowers 《簪花仕女图》
+
 
−
7.hair bun 发髻
+
25.撮缬 pleating
−
8.official rank 官阶
+
 
−
9.Bun 圆髻
+
26.夹缬 cliping
 +
 
 +
27.绞缬 twisting
 +
 
 +
28.打结 knotting
 +
 +
29.折叠串缝 folding and sewing
 +
 
 +
30.鹿胎缬 deer placenta valerian
 +
 
 +
31.玛瑙缬 overlapping spots valerian like agate
 +
 
 +
32.叠胜缬 continuous net-like patterns in four directions
 +
 
 +
33.四瓣花罗 four-petal pattern
 +
 
 +
34.七宝纹 shippou pattern
 +
 
 +
35.花鸟纹 pattern with birdflower design
 +
 
 +
36.茜草 madder
 +
 
 +
37.赭石 ochre
 +
 
 +
38.扎花 tie-flowering
 +
 
 +
39.浸染 dip-dyeing
 +
 
 +
40.拆线 stitch removal
 +
 
 +
41.土靛 soil indigo
 +
 
 +
42.湿靛 wet indigo
 +
 
 +
43.板蓝根 isatis root
  
 
===问题===
 
===问题===
  
−
1.簪花围作为国家级非物质文化遗产，其形制与装饰如何体现泉州蟳埔地域的海洋文化特征？
+
1.什么是白族扎染？
−
2.从历史上看，蟳埔簪花习俗是如何融合中原汉文化传统与本土闽越文化，并最终形成独特样貌的？
+
 
−
3.简述簪花围制作工艺中“盘发”与“装饰”两个核心步骤的技术要点与文化意涵。
+
2.扎染的生产工艺是怎样的？
−
4.簪花在蟳埔女的社会生活中承载了哪些超越审美之外的社会功能与文化象征意义？
+
 
−
5.当代“簪花围”从社区文化标识转变为大众旅游消费符号，这一过程涉及哪些“非遗”保护与发展的核心议题？
+
3.白族扎染的主要原料有哪些？
−
6.从“非遗旅游体验创新”的角度，泉州簪花的成功实践提供了哪些可借鉴的路径？
+
 
 +
4.如何传承白族扎染？
  
 
===答案===
 
===答案===
−
1.簪花围的形制与装饰深刻反映了泉州蟳埔村“以海为田”的生存环境与文化适应。在形制上，其核心是将长发全部后梳，盘成扁圆发髻并牢固固定，这一方面便于海边劳作，避免头发被海风扰乱或卷入渔网，另一方面无刘海、光洁额头的处理也适应了多风沙的海洋性气候，体现了实用理性。在装饰上，其材料与意涵均与海洋紧密关联：早期簪花常采用海贝、珊瑚等海洋物产直接打磨制成，形成了独特的海洋材质美学；而其信仰内核则与妈祖崇拜等海洋民间信仰深度融合，例如在“妈祖生”等重要庆典中，簪花围是敬神与巡游的必要装束。因此，簪花围并非单纯的审美装饰，而是融合了生产功能、生态适应与海洋信仰的“地方性知识”的物化载体。
+
 
−
2.蟳埔簪花习俗的源头可追溯至中原汉文化的簪花古礼，汉代已出现以鲜花、金银、绸绢饰发的风尚，唐宋时期尤为鼎盛，《簪花仕女图》即为明证。这一传统随中原士族南迁入闽。在泉州蟳埔，这一习俗与闽越本土的海洋文化及宋元时期泉州海洋贸易带来的多元文化发生了深度交融。其表现为：在核心礼俗观念上继承了中原的“以花为饰”与礼仪美感；在具体形态上，则吸收了古闽越人“贝饰”传统，发展出独具特色的贝雕簪钗，并结合海上丝绸之路传入的异域花卉（如素馨、茉莉）与审美元素，形成了以“簪花围”为标志的、繁复灿烂的视觉体系。因此，它是中原农耕文明礼俗、闽越海洋部落文化、海外贸易城市风尚三重脉络在特定地理空间长期互动的产物。
+
1.白族扎染是大理周城村白族的传统民间工艺，其历史可以追溯到秦汉时期。2006年，白族扎染被列入国家非物质文化遗产名录。此类扎染集文化与艺术于一体，富有特色，清新优雅，蓝白相间。
−
3.盘发技术：以骨笄分区、红绳捆扎、螺旋盘髻为核心。其技术要点在于利用骨笄作为支撑骨架，通过螺旋盘绕与红绳固定，形成一个稳固、扁平、饱满的圆形基座。这一基座（发髻）被称为“粗脚头”，其牢固性确保了在海洋环境下劳作的实用性，其圆形则蕴含着“圆满”“和谐”的传统文化观念。
+
 
−
装饰艺术：遵循“衬底-主体-点缀”的层次逻辑。首先，以花串环绕发髻形成饱满的基底，以数量（日常1-2串，节庆5-7串）来区分日常与欢庆场景。其次，佩戴玳瑁梳，其功能兼具固定发髻与装饰，玳瑁材质本身源自海洋，是身份与吉祥的象征。最后，插戴边花、钗仔针、金铳针等进行立体点缀，追求色彩对比、形状错落的“锦簇”效果。整个装饰过程，是将头部转化为一个“移动花园”，体现了“天人合一”的审美观，即人与自然的微型生态模拟。
+
2.扎染的主要步骤有画刷图案、绞扎、浸泡、染布、蒸煮、晒干、拆线、漂洗、碾布等，其中主要有扎花、浸染两道工序，技术关键是绞扎手法和染色技艺。
−
4.年龄与生命阶段标志：女孩自十一二岁起开始盘发簪花，标志步入青春期；新婚时的簪花尤为盛大，是婚俗礼仪的核心环节。
+
 
−
社会身份与美德象征：簪花围是“蟳埔女”的族群标识，象征着女性的勤劳、坚韧与持家能力。其繁复而不失秩序的造型，视觉化了她们“内外兼修”的社群期许。
+
3.白族扎染的主要原料为靛蓝，俗称板蓝根，是一种天然植物染料。
−
情感与精神寄托载体：不同花卉的选择寄托个人情感（如爱情祈愿），集体性的簪花活动（如妈祖巡游）则强化了社群认同与海洋信仰。
+
 
−
5.当地社区（尤其是中老年女性）作为文化持有者，从技艺展示者、盘发师到民俗讲解员，其主体角色如何确认，并在旅游收益中获得合理回报，是实现可持续保护的关键。对游客而言，簪花围的意义从“蟳埔女的生活样式”转变为“古典美学体验”和“出片神器”，其承载的海洋历史、社群记忆等深层内涵可能在浅层消费中被稀释。如何通过旅游体验设计有效传递其文化深度，是一大挑战。旅游热吸引年轻一代返乡从事相关行业，为非遗带来了新的传承人群与传播方式，但也可能使传承动机更趋经济化。
+
4.传承白族扎染需要拓展产业链，与现代审美相结合，创新高端产品和大众产品; 还需要将人工智能生成内容技术、虚拟现实、增强现实等各种区块链技术结合，实现数字化转型和知识产权保护，优化营销模式，再通过相关项目和合作鼓励年轻人学习这门工艺。
−
6.精准把握社交媒体时代游客对“视觉奇观”与“文化沉浸”的复合需求，将簪花围塑造为兼具东方美学韵味与高互动性的“可穿戴的文化符号”，通过明星效应、社交媒体（如小红书、抖音）的美学化传播，成功激发游客的打卡预期与审美向往。
 

Revision as of 05:59, 4 February 2026

Final Exam Paper

Bai Tie-Dying

Contents

Chapter 1 General Introduction

1.1 Research Background

1.2 Research Significance

Chapter 2 Historical Origin and Features

2.1 Origin

2.2 The Development Characteristics of Different Historical Periods

2.3 Production Process

2.4 Dye Types and Characteristics

Chapter 3 The Dilemma of Inheritance

3.1 Lack of Inheritors

3.2 Lack of Innovation

3.3 Backward Marketing Methods

Chapter 4 Solutions to Tie-dying Inheritance

4.1 Innovation of High-end Products Made from Tie-Dying

4.2 Innovation of Dissemination Methods

4.3 Application of AIGC System

Reference

Terms

Questions

Answers

Introduction

Research Background

Intangible cultural heritage is the outstanding traditional culture of a country and a nation. 5G has broken through the technical barriers of live streaming. Intangible cultural heritage has also achieved rapid development through live streaming. The Bai ethnic group's tie-dyeing technique in Zhoucheng Village, Dali, has been refined through history and has become a symbol of the local characteristic culture. In the new environment, traditional intangible cultural heritage skills need to adapt to the new environment and make new changes.

Research Significance

From a practical perspective, intangible cultural heritage, as a spiritual heritage representing the cultural characteristics of a country or region, plays a promoting role in the current advocacy of rural cultural revitalization and the formation of rural cohesion. The Bai ethnic group's tie-dyeing village has a history of over a hundred years and is rich in cultural heritage. Tie-dyeing is one of its most prominent intangible cultural heritages, carrying the collective memory and emotional demands of villagers of different generations. To help tie-dyeing escape the fate of being "abandoned", this article traces its historical origin and explores its current development status, with the aim of innovatively developing tie-dyeing in contemporary times. This can enhance people's awareness of the protection of intangible cultural heritage and also provide certain inspirations for the development and protection directions of other intangible cultural heritages.

Historical Origin

Origin

Tie-dyeing, a traditional folk craft that has evolved from the Qin and Han dynasties to the present, is practiced by the Bai people in Zhoucheng. Since the late Ming and early Qing dynasties, tie-dye handicrafts have been well inherited and developed in this region, integrating culture and art into a cohesive whole. In 2006, the Bai ethnic group’s tie-dyeing technique in Dali, Yunnan Province, was inscribed on the national list by the Ministry of Culture as a national intangible cultural heritage[5].

Zhoucheng, known as the “Hometown of Bai Ethnic Group’s Tie-dyeing,” is situated 23 kilometers north of the ancient city of Dali. It lies beside the Yunnan-Xizang Highway, 38 kilometers away from Xiaguan. As the largest natural village in Yunnan Province, it covers an area of 7 square kilometers and has a population of over 8868, nearly all of whom are Bai people. The village is home to over 1500 Bai ethnic households, making it the largest Bai ethnic village in Dali. It serves as an open folk tourism area for the Bai ethnic group, attracting visitors who come to tour the village.

The Development Characteristics of Different Historical Periods

In the sixteenth year of the Zhenyuan era of the Tang Dynasty, the Nanzhao dance troupe traveled to Chang’an to perform. The costumes they wore, described as having “skirts and jackets made from depictions of birds, beasts, plants, and trees, with patterns created using eight-color mixed leather”, were produced by using tie-dye techniques. The earliest physical evidence of tie-dye that we can see now originates from Astana in Turpan, Xinjiang. This Han Dynasty artifact has a history of approximately two thousand years. From this fabric fragment, one can observe the state of the dyeing: the valerian dots, similar to those on caviar, are uniform in size, evenly arranged, and brightly colored. These characteristics fully demonstrate that tie-dyeing techniques had already reached a relatively high level during the Qin and Han dynasties. Based on this evidence, it is reasonable to infer that the origin of manual dyeing and printing technology in our country should predate the Qin and Han dynasties. The reason earlier examples have not been discovered is likely due to the difficulty in preserving textiles over long periods, rather than the absence of such rudimentary printed and dyed fabrics.

After the tumultuous wars and divisions of the Wei, Jin, Northern and Southern Dynasties, the unification under the powerful Sui and Tang Dynasties brought people a peaceful and prosperous life. This also provided opportunities for the development and prosperity of tie-dyed clothing. At that time, both tie-dyeing techniques and printing and dyeing processes had reached a very high level. The craftsmanship was ever-changing, and the patterns were countless. There were various tie-dye techniques such as binding, pleating, twisting, knotting, and folding and sewing. The exquisite tie-tying techniques captured the essence of nature. There were patterns like deer placenta valerian and overlapping spots valerian like agate, as well as continuous net-like patterns in four directions, four-petal pattern, shippou pattern, and pattern with birdflower design. A wide variety of patterns and designs, including flower and bird motifs, were also achieved through the use of plant dyes and mineral dyes, creating a riot of colors. Commonly used dyes included madder for red, indigo for blue, and ochre for yellow. For example, the “Four-Petal Flower” unearthed from the Tang Dynasty, which adopted the techniques of scattered point arrangement and folding and stringing, features bright orange-yellow petals against a dark brown background. A Tang Dynasty shippou patterned vase preserved in a Japanese museum, dyed using the folding and stringing stitch method, forms a net-like structure with very beautiful patterns resembling copper coins. These tie-dyed fabrics, with their exquisite composition and smooth lines, were widely loved by people, from high-ranking officials and nobles to common folk. The use of tie-dye became a prevailing trend, making tie-dyed clothing popular. The Tang Dynasty witnessed unprecedented development and prevalence of tie-dyeing[6].

By the Song Dynasty, tie-dyeing had become very common. Moreover, the techniques of tie-making had also been continuously refined. Beautifully crafted zha dyeing products had become commonly used clothing items in daily life. However, the Song Dynasty adhered to frugality and issued edicts many times to prohibit or limit production. On one hand, the royal family’s ban on the use of tie-dyed and other printed and dyed items indicated that these techniques had developed and become more widespread than ever before. On the other hand, repeated prohibitions and heavy punishments dealt a blow to the booming folk tie-dyeing industry, resulting in many cases of the loss of dyeing techniques. This led to the prevalence of this ancient technique in the Sui and Tang Dynasties being fatally damaged and thus declined.

Production Process

The method of making tie-dye is unique. Old books vividly describe the process of making tie-dye by the ancients, “pick and gather the threads, tie them up, and then dye them. Once dyed, the knot is untied. All the knots are in their original colors, while the rest are dyed, making the colors rich and colorful.” The main steps of tie-dyeing include painting patterns, twisting and tying, soaking, dyeing the fabric, steaming, drying in the sun, thread removal, rinsing and grinding the fabric. Among them, the two main processes are tying flowers and soaking dyeing. The key techniques lie in the twisting and tying techniques and dyeing skills. Dyeing vats, dyeing sticks, drying racks, stone mills and the like are the main tools for tie-dyeing.

Tie-flower, originally known as “tying knots”, is a process that begins with the selection of fabric. According to the requirements of the pattern, the fabric is shaped into a certain form using methods such as creasing or crumpling [9], folding, rolling, and squeezing. Subsequently, with a needle and thread, it is sewn or wrapped stitch by stitch to make it tight and securely sewn, thereby transforming the fabric into a series of “knots”.

The dyeing process commences with soaking the fabric, which has been tied into “knot”, in clean water. The fabric is then placed in a dye vat for either cold dyeing after soaking or hot dyeing after heating. After a certain period, the fabric is removed and allowed to dry before being reimmersed in the dye vat for further dyeing. This repeated immersion process deepens the color with each cycle, a phenomenon known as “indigo blue is extracted from the indigo plant, but is bluer than the plant it comes from.”. The parts that have been sewn, being impermeable to the dye, naturally form beautiful patterns. Additionally, due to the varying stitches used by individuals and the differing degrees of dye penetration during the sewing and tying process, there is an element of randomness. As a result, the finished dyed products are rarely identical, thereby endowing them with greater artistic significance[8].

Dye Types and Characteristics

The main plants are indigo or soil indigo, which are commonly known as "radix isatidis" in folk terms. The indigo dye used for dyeing cloth in Zhoucheng is all grown and processed by the villagers themselves. Besides meeting the cloth dyeing needs of their own village, the surplus indigo is also sold to other regions.

Isatis root is a natural plant dye. The production process does not add any chemical components and causes no pollution to the environment. The non-toxic dye extracted from it conforms to the principle of sustainable development. The main colors are blue and white. The dyed fabrics are either blue with white patterns or blue with white patterns. The tones are fresh and elegant, with a unique charm, reflecting the pure and gentle aesthetic characteristics of the Bai ethinic groups. Moreover, through repeated immersion, various shades of blue can be formed. There is often a certain transitional gradient effect between the flower and the ground, with many ice cracks, naturally formed. And tie-dyed products made from plant indigo have bright colors and good color fastness, and are not easy to fade.


The Dilemma of Inheritance

Lack of Inheritors

There is a significant risk of discontinuity in the inheritance process of tie-dyeing techniques. The older generation, who have systematically learned and mastered the tie-dyeing technique, have been able to make a living from it. However, the tie-dyeing process is inherently complex and time-consuming. Despite the considerable time investment required, the income generated is often only sufficient to support a modest livelihood. As a result, young people are increasingly reluctant to devote substantial time and energy to learning these ancestral skills. This reluctance has led to a growing risk of discontinuity in the transmission of traditional tie-dyeing skills. The core contradiction lies in the long-term investment required for the inheritance of skills and the career pursuit and survival pressure of contemporary young people[7].


Lack of Innovation

In today’s era that encourages innovation and development, tie-dyeing, as a traditional technique, faces significant challenges. The traditional dyeing process lacks innovation in its products, which is mainly manifested in low-end production. The products are highly homogeneous, and high-end ones are scarce.

At the very beginning of the birth of this art, tie-dyed products mainly included ethnic costumes, tablecloths, table flags, and other items. These were primarily supplied to meet local market demand and for export to foreign countries. However, after 2010, orders from abroad have decreased significantly. Merchants have had no choice but to expand into the domestic market, developing a series of tourism products.

As of 2020, the tie-dyed products in Dali Prefecture mainly include tablecloths, T-shirts, dresses, scarves, and table flags. A small number of high-end ethnic costumes are available, and the rest of the peripheral products include throw pillows, handbags, and toys, such as dolls, coasters, shoes, hats, socks, and door curtains. The current peripheral products are in the initial stage of research and development and have not been widely sold. They mainly focus on tourism products, such as T-shirts and dresses, which have become the main low-end tie-dye products in Dali Ancient Town, Xizhou Town, and Shuanglong Town. As the products with the widest audience range, the clothing of each store mainly relies on purchasing and selling. The styles, patterns, and forms of the products sold are almost identical, resulting in serious homogenization. The production and sales of the products have gone off track, lacking novelty and innovation. The market for low-end tie-dye products has not been enriched, nor has its artistic form been fully demonstrated. This is a problem brought about by insufficient innovation drive. Another manifestation of the lack of innovation is the scarcity of high-end products. Artistic masterpieces are the highest expression of folk craftsmanship and can fully embody the art of Dali’s traditional dyeing, which has been passed down for thousands of years. High-end tie-dye products from Dali, such as traditional craft ethnic costumes, complex and exquisite series of table flags and tablecloths, and dedicated artworks, are only available in a few shops, workshops, or museums for appreciation or sale. There are over a thousand kinds of tie-dye patterns, but not many are presented. Neither merchants nor local Bai residents have fully utilized the original skills of this craft to master the superb tie-dyeing techniques and bring the art into the public eye, presenting tie-dyeing thoroughly and completely. This is a characteristic of high-end product scarcity and is also a problem caused by insufficient innovation drive.

If the essence of tie-dyeing techniques can be combined with high-end products, it will not only enhance the popularity of tie-dyeing but also bring back its top-notch artistic essence. The development and innovation of low-end products indirectly enhance one’s own economic self-sustaining capacity. Therefore, the issue of product innovation needs to be further addressed.

Backward Marketing Methods

Many local tie-dye practitioners are engaged in online business. Most of the members are middle-aged people over 35 years old and elderly people from Zhoucheng Village. They are mostly illiterate or those who can read but sell products through the Internet. This approach indicates a lack of understanding, indifference, and energy. Therefore, most major tie-dye producers do not have online stores and do not engage in online business activities.

Some local foreign merchants are currently developing online markets, such as opening online stores or promoting and advertising on various popular social media platforms. While exploring customers and conducting online operations, they also drive traffic to physical stores. However, due to reasons such as a single product range and insufficient professionalism in online operations, the online operation results of some merchants are not satisfactory and need to be improved. Overall, the specific business models both online and offline are backward, and the potential of tie-dyeing has not been fully exploited. The advantages of the product have not brought considerable economic benefits, and thus it is impossible to further invest in promoting the development of tie-dyeing.

Solutions to tie-dye inheritance

Innovation of High-end Product Made from Tie-dying

Mass product manufacturing, apart from clothing, should expand its industrial chain by utilizing the patterns and designs of tie-dyeing and combining them with the consumption preferences of modern consumers. These designs can be applied to various product categories, such as canvas bags, hats, coasters, wedding dresses, art scrolls, and household items. This approach ensures that the products not only possess the beauty of traditional craftsmanship but also exhibit modern aesthetic appeal. High-end products and art pieces represent the pinnacle of cultural expression. The creation of high-end products should delve deeply into the historical roots of tie-dyeing, capturing the essence of its millennia-old cultural heritage and refining it for contemporary appreciation[4].

Innovation of Dissemination Methods

Due to the influence of the geographical environment and the traditional thoughts of ethnic minorities on the villagers of Zhoucheng Village, their media literacy and cultural literacy are not high. Coupled with their lack of a strong media awareness, the cost of their media learning is relatively high[3].

The promotion of live streaming of intangible cultural heritage, including tie-dyeing, requires a nuanced understanding and active participation from live-streaming hosts. These hosts, who utilize live-streaming media, play a crucial role in publicizing tie-dyeing culture. Young people, in general, exhibit a higher acceptance of modern media and possess a stronger ability to learn new things. This makes them ideal candidates for becoming live-streaming hosts. However, the fact that the younger generation has not yet mastered the traditional tie-dyeing skills presents a significant challenge. This gap in knowledge and skill has thus made the promotion of live streaming of intangible cultural heritage, particularly tie-dyeing, rather difficult.

To address this issue, it is urgent to introduce corresponding strategies to encourage the younger generation to devote themselves to the learning and inheritance of traditional tie-dyeing techniques. Cultivate the live-streaming awareness of the people in Zhoucheng to promote tie-dyeing, and carry out stratified and classified live-streaming specialized training based on the ability characteristics and cognitive levels of different groups. The practical teaching focuses on basic operations and process demonstration scenarios for middle-aged and elderly practitioners. For the younger group, it strengthens the cultivation of advanced skills such as content planning, interactive operation and new media communication. Through adaptive training, the participation threshold is lowered to consolidate the ability foundation of live streaming promotion. Villagers can hold offline practical workshops, with the core content being the basic operation of mobile phones and the simplification of live streaming processes. It covers practical function training such as one-click live streaming and automatic reply Settings, supplemented by dialect explanations and graphic manuals to enhance the adaptability of teaching. The focus is on conducting live streaming training for process demonstrations, through real-time demonstrations of core procedures such as flower arrangement and dyeing. By integrating the oral dissemination of knowledge points related to intangible cultural heritage, the professionalism and cultural nature of live-streaming content should be strengthened.

Application of AIGC System

In the digital transformation and innovative practice of tie-dyeing, AIGC (Artificial Intelligence Generated Content) technology can play a core enabling role. By collecting traditional tie-dye patterns for digital modeling and constructing a dedicated deep learning database, the technology can accurately extract the unique textures and color spectra of the tie-dyeing process. It can then intelligently generate diverse and innovative patterns based on users’ semantic demands. This approach not only significantly enhances the efficiency of pattern iteration and meets the demands for personalized customization but also promotes the deep integration of traditional craft symbols with modern aesthetic trends, breaking the temporal and spatial limitations of traditional pattern creation.

At present, 3D models are mainly applied in the display and promotion of cultural heritage, providing virtual situational experiences for precious cultural relics that were originally hard to access. In the 3D model world that integrates AR (augmented reality) and XR (Extended Reality) technologies, users can explore and practice by manipulating virtual objects, thereby obtaining a more interactive and immersive learning experience[1].

In terms of experience innovation, a virtual tie-dyeing interaction platform can be established. By leveraging VR (Virtual Reality) technology, the entire tie-dyeing process—from design conception and tying operations to dyeing and color fixation—can be fully replicated, allowing users to immerse themselves in the craft’s creation. Meanwhile, AR technology can be integrated to enable real-time previews of patterns and dynamic adjustments of effects, further optimizing the intuitiveness and convenience of the customization experience.

To ensure cultural value and intellectual property protection during digital transformation, the introduction of blockchain technology is particularly crucial. It can endow digital tie-dye works or physical tie-dye products with a unique and unalterable digital identity identifier and record core information such as material traceability, process flow, and cultural implications throughout the product’s entire lifecycle. This not only verifies the authenticity and inheritance of intangible cultural heritage techniques but also builds a robust barrier for intellectual property protection, preventing piracy and infringement. Moreover, it provides reliable value support for the expansion of tie-dyeing culture in contemporary cultural and creative industries, as well as in cross-border cooperation and other fields.

By integrating AR (Augmented Reality) and VR (Virtual Reality) technologies, users can experience the presentation effects of tie-dye patterns on different materials, such as cotton, silk, and linen, and under various lighting conditions in real time through their mobile phones or VR devices. At the same time, the virtual interaction platform enables users to simulate the entire tie-dyeing process, including tying, dyeing, and rinsing. This process not only enhances the visualization of the craftsmanship and enriches the user experience but also promotes the interactive dissemination of knowledge related to intangible cultural heritage. This immersive participation mode breaks through the limitations of traditional static displays and provides a new dynamic dissemination path for the digital transformation of intangible cultural heritage[2].

References

[1]Tao C, Hong X. A three-dimensional visualization model for intangible heritage of tie-dye handicrafts[J]. npj Heritage Science, 2025, 13(1): 648-648.

[2]韩美仪. AIGC技术在自贡扎染文创设计中的应用研究[J]. 西部皮革, 2025, 47(20): 119-121.

[3]刘静, 陈俞颖, 崔嘉惠, 李露璐. 非遗直播的现实困境与发展路径探究——以大理周城村白族扎染为例[J]. 传播与版权, 2021, (09): 97-99.

[4]钱美琴.扎染的发展现状及对策研究——以云南大理为例[J].大众标准化, 2021, (16): 51-54.

[5]谢兵. 周城扎染研究综述[J]. 西部皮革, 2017, 39(14): 113-114.

[6]叶佑天, 刘超, 胡思斌. 浅谈扎染服装的历史、现状、发展[J]. 美与时代, 2003, (01):49-51.

[7]张京楠, 蔡炯. 扎染在现代生活中的保护与传承——以白族扎染为例[J].商展经济, 2025, (24): 59-62.

[8]https://baike.baidu.com/item/%E6%89%8E%E6%9F%93/2660805

[9]https://luopeitarx.com/blogs/article/what-is-tie-dye


Terms

1.扎染 tie-dyeing

2.非物质文化遗产 intangible cultural heritage

3.扎缬 binding

4.撮缬 pleating

5.夹缬 cliping

6.绞缬 twisting

7.打结 knotting

8.折叠串缝 folding and sewing

9.鹿胎缬 deer placenta valerian

10.玛瑙缬 overlapping spots valerian like agate

11.叠胜缬 continuous net-like patterns in four directions

12.四瓣花罗 four-petal pattern

13.七宝纹 shippou pattern

14.花鸟纹 pattern with birdflower design

15.茜草 madder

16.赭石 ochre

17.扎花 tie-flowering

18.浸染 dip-dyeing

19.拆线 stitch removal

20.土靛 soil indigo

21.湿靛 wet indigo

22.板蓝根 isatis root

Questions

1. What is Bai Tie-dyeing?

2. What is the production process of tie-dyeing?

3. What are the main raw materials used in Bai Tie-dyeing?

4. How can we inherit Bai Tie-dyeing?

Answers

1. Bai Tie-dyeing is a traditional folk craft of the Bai people in Zhoucheng Village, Dali, with a history dating back to the Qin and Han dynasties. It was inscribed on the national intangible cultural heritage list in 2006, integrating culture and art, and featuring fresh and elegant blue-and-white tones.

2. The main steps of tie-dyeing include painting patterns, twisting and tying, soaking, dyeing the fabric, steaming, drying in the sun, thread removal, rinsing and grinding the fabric. Among them, the two main processes are tying flowers and soaking dyeing.

3. The main raw material of Bai Tie-dyeing is indigo or soil indigo, commonly known as isatis root, a natural plant dye.

4. Inheriting Bai Tie-dyeing requires innovating high-end and mass products by expanding the industrial chain and integrating with modern aesthetics. It also requires applying AIGC, VR, AR and various blockchain technologies for digital transformation and IP protection and optimizing marketing models while encouraging young people to learn the craft through related programs and collaborations.

期末论文

白族扎染

目录

第一章总论

1.1 研究背景

1.2 研究意义

第二章 历史渊源与特点

2.1 起源

2.2 不同历史时期的发展特点

2.3 生产流程

2.4 染料种类及特性

第三章继承的困境

3.1 缺乏继承者

3.2 缺乏创新

3.3 落后的营销方式

第四章扎染传承的解决方案

4.1 扎染高端产品的创新

4.2 传播方式的创新

4.2 AIGC系统的应用

参考文献

术语

问题

答案

引言

研究背景

非物质文化遗产是一个国家、一个民族的优秀传统文化。5G时代打破了直播技术壁垒。非物质文化遗产也通过直播实现了快速发展。大理周城村白族扎染技艺经过历史的提炼，已成为当地特色文化的象征。新时代中，传统非物质文化遗产技艺需要适应新的环境，做出新改变。

研究意义

从实践角度看，非物质文化遗产作为代表一个国家或地区文化特色的精神遗产，对当前倡导乡村文化振兴、形成乡村凝聚力具有促进作用。白族扎染是一个有着上百年历史的传统村落，文化底蕴深厚。扎染是其最突出的非物质文化遗产之一，承载着不同世代村民的集体记忆和情感诉求。为使扎染摆脱“被抛弃”的命运，本文对扎染进行了历史溯源和发展现状探寻，以求在当代创新性发展扎染。这可以提高人们对非物质文化遗产保护的认识，也可以为其他非物质文化遗产的开发和保护方向提供一定的启示。

历史渊源

起源

扎染是周城白族的一种传统民间工艺，从秦汉时期发展至今。自明末清初以来，扎染手工艺在该地区得到了很好的传承和发展，将文化和艺术融为一体。2006年，云南省大理白族扎染技艺被文化部列入国家级非物质文化遗产名录[5]。


周城作为“白族扎染之乡”，坐落于滇藏高速公路沿线，地处大理古城以北，面积达7平方公里,是云南省最大的自然村。该村聚居着1500余户白族居民，总人口超8868人，几乎全是白族人，也是大理规模最大的白族村寨。作为对外开放的白族民俗旅游胜地，周城凭借独特的文化底蕴与民俗风情，吸引着各地游客慕名到访。

不同历史时期的发展特点

唐真元十六年，南诏舞蹈团赴长安献演，其身着的服饰以鸟兽草木为纹样，采用八色混合皮革呈现图案，实为扎染工艺的早期应用成果。目前已知最早的扎染实物出土于新疆吐鲁番阿斯塔纳，为距今约两千年的汉代织物残片。该残片上的缬点形似鱼子酱，大小匀整、排布规整且色泽鲜亮，直观印证秦汉时期扎染技艺已发展至较高水平。由此可推断，我国手工印染技术的起源应早于秦汉，早期实物未被发现，大概率归因于纺织品难以长期保存，而非彼时无此类印染织物。


历经魏晋南北朝的战乱与分裂，统一而强大的隋唐给人们带来安宁富足的生活，也给扎染服装带来发展繁荣的机遇。当时，扎染技巧与印染工艺都达到了很高水平，其技艺百变，图案万千。有扎缬、撮缬、夹缬、绞缬、打结、折叠串缝等巧夺天工的扎缬技艺；有鹿胎缬、玛瑙缬、叠胜缬、四瓣花罗、七宝纹、花鸟纹等千姿百态的图案纹样。印染工艺也取得了突破性的发展，利用植物染料、矿物染料染制出了万紫千红的色彩。常用茜草染红色，蓝靛染蓝色，用赭石染土黄色。例如，出土的唐代“四瓣花罗”采取散点排列、折叠串扎的技法，橘黄色的花瓣在深棕色的底色上显得亮丽秀美。保存于日本博物馆的唐代七宝纹扎染，采用折叠串针扎法，构成网状组织的铜钱花纹，非常漂亮。还有用绞针法缝扎成的花鸟纹，构图精美，线条流畅。这些扎染的衣料，受到人们广泛喜爱，上至达官贵人，下至百姓人家，使用扎染蔚然成风，使扎染服装在唐代得到空前的发展与盛行[6]。

历史演变到了宋代，扎染已经非常普及，扎制技艺也日臻完善。做工精美的扎染用品成为日常生活中常用的服饰品。但宋王朝自奉节俭，多次下诏禁止生产或限制使用扎染等染缬品。皇室的禁令一方面说明了扎染等印染物品已空前的发展和普及；另一方面，三令五申的禁止，沉重打击了正蓬勃发展的民间扎染，致使不少扎染技法失传，导致盛行于隋唐的这项古老技艺受到致命摧残，就此衰落下来。

生产流程

扎染的制作方法别具一格，旧籍生动地描述了古人制作扎染的工艺过程：“‘撷’撮采线结之，而后染色。即染，则解其结，凡结处皆原色，余则入染矣，其色斑斓。”扎染的主要步骤有画刷图案、绞扎、浸泡、染布、蒸煮、晒干、拆线、漂洗、碾布等，其中主要有扎花、浸染两道工序，技术关键是绞扎手法和染色技艺。染缸、染棒、晒架、石碾等是扎染的主要工具。

扎花，原名扎疙瘩，即在布料选好后，按花纹图案要求，在布料上分别使用撮皱、折叠、翻卷、挤揪等方法[9]，使之成为一定形状，然后用针线一针一针地缝合或缠扎，将其扎紧缝严，让布料变成一串串“疙瘩”。

浸染，即将扎好“疙瘩”的布料先用清水浸泡一下，再放入染缸里，或浸泡冷染，或加温煮热染，经一定时间后捞出晾干，然后再将布料放入染缸浸染。如此反复浸染，每浸一次色深一层，即“青出于蓝”。缝了线的部分，因染料浸染不到，自然成了好看的花纹图案，又因为人们在缝扎时针脚不一、染料浸染的程度不一，带有一定的随意性，染出的成品很少一模一样，其艺术意味也就多了一些[8]。

染料的种类和特性

主要植物为靛蓝或土靛蓝，民间俗称“板蓝根”。在周城，用于染布的靛蓝染料全部由村民自己种植和加工。除了满足本村的布料染色需求外，剩余的靛蓝也销往其他地区。

板蓝根是一种天然植物染料。生产过程中不添加任何化学成分，对环境不造成污染。从中提取的无毒染料符合可持续发展的原则。主色调是蓝色和白色。染色的织物有蓝带白纹或蓝带白纹。色调清新淡雅，具有独特的韵味，体现了白族纯洁温柔的审美特征。此外，通过反复浸泡，可以形成各种深浅不一的蓝色。花与地面之间往往有一定的过渡梯度效应，有许多冰裂缝，自然形成。而植物靛蓝扎染产品颜色鲜艳，色牢度好，不易掉色。

传承困境

缺乏传承者

扎染技艺在传承过程中存在出现断层的风险。老一辈人熟练掌握扎染工艺并以此为生，而新一代年轻人并没有系统学习过扎染技艺，且扎染工艺程序复杂、耗费时间长，所带来的收益也仅能支撑生计。年轻人并不愿意耗费大量的时间与精力学习祖先传下来的技艺，由此导致传统技艺传承出现断层风险。核心矛盾是技艺传承所需的长期投入与当代年轻人职业追求和生存压力之间的矛盾[7]。

缺乏创新

在现今鼓励创新谋发展的年代，扎染作为一种传统染色工艺，其产品的创新不足，主要表现为低端产品同质化严重，高端产品稀缺。在这项技艺诞生之初，扎染产品主要为民族服饰、桌布、桌旗等，主要用于满足本地市场需求及出口国外。2010 年后，出口订单较大幅度减少，商人不得不开拓国内市场，研发系列旅游产品。截至 2020 年，大理地区的扎染产品主要包括桌布、T 恤、连衣裙、围巾、桌旗、少量高端民族服装，其余周边产品有抱枕、手袋、玩偶、茶杯垫、鞋、帽、袜、门帘等。目前周边产品处于研发初创期，尚未大面积销售，而主打的旅游产品——T 恤、连衣裙等服装，成为大理古城、喜洲镇、双廊镇最主要的低端扎染产品。

作为受众范围最广的低端产品，各店铺的服饰主要靠进货销售，产品风格、图案、形式相差无几，同质化问题严重。产品生产与销售脱轨，缺少新意与变革，扎染低端产品市场未得到充分丰富，其艺术形式也未得到充分展现，这是创新动力不足所致。产品缺乏创新的另一表现是高端产品稀缺。艺术精品是传统民间工艺的最高表达，能够充分体现大理扎染传承千年的技艺。大理的高端扎染产品，如传统手工民族服饰、复杂精美的系列桌旗与桌布、潜心创作的艺术作品，仅在少数店铺、作坊或璞真博物馆有供欣赏或销售。扎染的各式扎花图案达上千种，但呈现出来的并不多。不论是商人还是本土白族居民，都没能很好地利用这项工艺原有的技艺，把高超的扎染工艺带入大众眼帘，把扎染彻底完整地呈现。这是高端产品稀缺性的特点，也是创新动力不足所致。

若能把扎染技艺精髓与高端产品相结合，不仅有利于提高扎染知名度，还能将其顶级艺术精髓回馈于扎染低端产品的开发与创新，间接提高自身经济造血能力。因此，产品创新问题有待进一步解决。

落后的营销方式

许多当地的扎染从业者都在从事网上业务。成员以35岁以上的中年人和周城村的老人为主。他们大多是文盲或会读书但通过互联网销售产品的人。这种态度表明缺乏理解、冷漠和精力。因此，大多数主要的扎染生产商没有网上商店，也不从事网上经营活动。

一些当地的外国商人目前正在开发网络市场，例如开设网上商店或在各种流行的社交媒体平台上进行推广和广告。在探索客户和开展在线业务的同时，他们也为实体店带来了流量。但由于产品种类单一、线上运营专业性不足等原因，部分商家的线上运营效果并不理想，需要改进。总体而言，无论是线上还是线下，具体的商业模式都比较落后，扎染的潜力没有得到充分发挥。该产品的优势尚未带来可观的经济效益，因此不可能进一步投入促进扎染的发展。

扎染传承的解决方案

扎染高端产品的创新

除了服装之外，大众产品制造业应该利用扎染的图案和设计，结合现代消费者的消费偏好，扩大产业链。这些设计可以应用于各种产品类别，如帆布袋、帽子、杯垫、婚纱、艺术卷轴和家居用品。这种做法确保了产品既具有传统工艺之美，又具有现代审美情趣。高端产品和艺术品代表了文化表达的顶峰。高端产品的创造应该深入挖掘扎染的历史根源，捕捉其千年文化遗产的精髓，并将其提炼以供当代欣赏[4]。

传播方式的创新

由于周城村村民受地理环境和少数民族传统思想影响，村民的媒介素质和文化素养都不高，再加上他们没有很高的媒介意识，导致他们的媒介学习成本较高[3]。

非遗直播的推广与传播，尤其是扎染文化的传播，离不开直播从业者对非遗文化的深度理解与主动践行。这些借助直播媒介的传播者，在扎染文化的普及与推广中起着关键作用。从群体适配性来看，年轻人对现代媒体的接受度更高，且学习新事物的能力更强，无疑是非遗直播主播的优质潜在群体。然而，现实困境是，年轻一代尚未系统掌握扎染传统技艺。这种知识与技能的断层，使得非物质文化遗产，特别是扎染的直播推广工作面临诸多挑战，推进过程困难重重。

为突破传承瓶颈，亟待出台相应策略，激励年轻一代投身传统扎染技艺的学习与传承。培养周城人民的直播意识以推广扎染，针对不同群体的能力特征与认知水平，开展分层分类的直播专项培训。面向中老年从业者聚焦基础操作与工艺展示场景的实操教学，面向年轻群体强化内容策划、互动运营与新媒体传播等进阶技能培育，通过适配性培训降低参与门槛，夯实直播推广的能力基础。村民可开展线下实操工作坊，以手机基础操作与直播流程简化教学为核心内容，涵盖一键开播、自动回复设置等实用功能培训，辅以方言讲解与图文手册提升教学适配性，重点开展工艺展示型直播培训，通过扎花、浸染等核心工序的实时演示，结合非遗相关知识点的口述传播，强化直播内容的专业性与文化性。

人工智能系统的应用

在扎染的数字化转型和创新实践中，人工智能生成内容技术（AIGC，Artificial Intelligence Generated Content）可以发挥核心赋能作用。该技术通过收集传统扎染图案进行数字化建模，并构建专用的深度学习数据库，能够准确提取扎染过程中独特的纹理和色谱。然后，它可以根据用户的语义需求智能地生成多样化和创新的模式。这种方法不仅显著提高了图案迭代的效率，满足了个性化定制的需求，而且促进了传统工艺符号与现代审美趋势的深度融合，打破了传统图案创作的时空局限。

目前，3D模型主要应用于文化遗产的展示与宣传，为原本难以接触的珍贵文物提供虚拟情境体验。在融合增强现实（AR）与拓展现实（XR）技术的3D模型世界中，用户可通过操控虚拟物体进行探索与练习，从而获得更具互动性与沉浸感的学习体验[1]。

在体验创新方面，可以建立虚拟扎染互动平台。利用虚拟现实（VR）技术，可以完全复制整个扎染过程，从设计构思、扎染操作到染色、定色，让用户沉浸在工艺创作中。同时结合增强现实技术（Augmented Reality），实现图案的实时预览和效果的动态调整，进一步优化定制体验的直观性和便利性。

区块链技术的引入，对于扎染数字化转型阶段文化价值的留存与知识产权的守护至关重要。通过该技术，数字扎染作品与实体扎染产品均可获得专属且不可篡改的数字身份标识。产品全生命周期中的核心信息：原料来源追溯、工艺操作流程、所蕴含的文化内涵等，都能被完整记录。这一做法既体现了非物质文化遗产技艺的传承脉络，又保护了知识产权，有效规避了盗版与侵权问题，进而为扎染文化在当代文创产业、跨界合作等领域的拓展延伸，筑牢可靠的价值根基。

通过增强现实和虚拟现实技术的融合，用户可以通过手机或虚拟现实设备实时体验扎染图案在棉、丝、麻等不同材质、不同光照条件下的呈现效果。同时，虚拟交互平台可以让用户模拟整个扎染过程，包括扎染、染色、漂洗。这一过程不仅增强了工艺的形象化，丰富了用户体验，而且促进了非物质文化遗产相关知识的互动传播。这种沉浸式参与模式突破了传统静态展示的局限，为非物质文化遗产数字化转型提供了新的动态传播路径[2]。

参考文献

[1] Tao C, Hong X. A three-dimensional visualization model for intangible heritage of tie-dye handicrafts[J]. npj Heritage Science, 2025, 13(1): 648-648.

[2] 韩美仪. AIGC技术在自贡扎染文创设计中的应用研究[J]. 西部皮革, 2025, 47(20): 119-121.

[3] 刘静, 陈俞颖, 崔嘉惠, 李露璐. 非遗直播的现实困境与发展路径探究——以大理周城村白族扎染为例[J]. 传播与版权, 2021, (09): 97-99.

[4] 钱美琴.扎染的发展现状及对策研究——以云南大理为例[J].大众标准化, 2021, (16): 51-54.

[5] 谢兵. 周城扎染研究综述[J]. 西部皮革, 2017, 39(14): 113-114.

[6] 叶佑天, 刘超, 胡思斌. 浅谈扎染服装的历史、现状、发展[J]. 美与时代, 2003, (01):49-51.

[7] 张京楠, 蔡炯. 扎染在现代生活中的保护与传承——以白族扎染为例[J].商展经济, 2025, (24): 59-62.

[8] https://baike.baidu.com/item/%E6%89%8E%E6%9F%93/2660805

[9] https://luopeitarx.com/blogs/article/what-is-tie-dye

术语

1.扎染 tie-dyeing

23.非物质文化遗产 intangible cultural heritage

24.扎缬 binding

25.撮缬 pleating

26.夹缬 cliping

27.绞缬 twisting

28.打结 knotting

29.折叠串缝 folding and sewing

30.鹿胎缬 deer placenta valerian

31.玛瑙缬 overlapping spots valerian like agate

32.叠胜缬 continuous net-like patterns in four directions

33.四瓣花罗 four-petal pattern

34.七宝纹 shippou pattern

35.花鸟纹 pattern with birdflower design

36.茜草 madder

37.赭石 ochre

38.扎花 tie-flowering

39.浸染 dip-dyeing

40.拆线 stitch removal

41.土靛 soil indigo

42.湿靛 wet indigo

43.板蓝根 isatis root

问题

1.什么是白族扎染？

2.扎染的生产工艺是怎样的？

3.白族扎染的主要原料有哪些？

4.如何传承白族扎染？

答案

1.白族扎染是大理周城村白族的传统民间工艺，其历史可以追溯到秦汉时期。2006年，白族扎染被列入国家非物质文化遗产名录。此类扎染集文化与艺术于一体，富有特色，清新优雅，蓝白相间。

2.扎染的主要步骤有画刷图案、绞扎、浸泡、染布、蒸煮、晒干、拆线、漂洗、碾布等，其中主要有扎花、浸染两道工序，技术关键是绞扎手法和染色技艺。

3.白族扎染的主要原料为靛蓝，俗称板蓝根，是一种天然植物染料。

4.传承白族扎染需要拓展产业链，与现代审美相结合，创新高端产品和大众产品; 还需要将人工智能生成内容技术、虚拟现实、增强现实等各种区块链技术结合，实现数字化转型和知识产权保护，优化营销模式，再通过相关项目和合作鼓励年轻人学习这门工艺。

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