User:Tan Tingting

Hello,everyone. I'm 谭婷婷 from Hubei Province. In my spare time, I'm really into listening to music and watching TV shows.I prefer to have connection with people. It's my great honor to have this class with you, and I hope that we can have a good time.Looking forward to learning with you all this semester!

Final Exam Paper

Xilankapu: Traditional Tujia Brocade from Enshi, Hubei

Introductions on Xilankapu

Xilankapu is a traditional handwoven brocade of the Tujia ethnic group. In the Tujia language, "Xilan" means quilt, and "Kapu" means flowers, which is why the broadcast is also known as a Tujia-patterned quilt. Famous for its refined patterns, rich colors and unique craftsmanship, it is an important symbol of Tujia culture, embodying the wisdom and skill of the Tujia people, and is often referred to as the “flower of the Tujia”. In the past, young Tujia women used to weave Xilankapu themselves on their looms as part of their dowry. Along with Zhuang brocade and Miao brocade, it is considered one of the “three famous brocades of China”. Xilankapu, an important representative that allows the outside world to understand Tujia culture, brings together traditional ethnic symbols, motifs and images and reflects the ancient beliefs, philosophy and values of the Tujia people. (Cui, 2024)

The History of Xilankapu

The history of Tujia brocade is long, originating in the Shang and Zhou dynasties, taking initial form during the Qin and Han, becoming basically shaped in the Jin dynasties, maturing in the Tang and Song, and reaching perfection in the Ming and Qing. During the Tang and Song, it was known as "Gongbu" or "Xibu," while Ming and Qing records refer to it as "Banbu, that is, Tujia brocade." Throughout history, it was offered by Tujia chieftains as a premium tribute or notable local product to the imperial court. It was formally named in 1957 following the official recognition of the Tujia as an ethnic group. Its most representative brocade, "Xilankapu," though sparsely documented in historical texts, is associated with various legends widely circulated in areas like Yongshun, Longshan, and Baojing along the You River in Northern Xiangxi. One legend tells of a girl named "Xilan" who died unjustly while trying to learn to weave the pattern of ginkgo flowers; another tells of "Xilan" and "Kapu," a young couple united by their pursuit of weaving beautiful brocades who ultimately suffered wrongful deaths. Regardless of the version, these legends convey the Tujia people's persistent pursuit of beauty and their reverence for the ancestors who created this treasure. In 1988, a Tujia brocade bag featuring the "Double Yangque" (a pair of cuckoos) motif was presented as a national gift to U.S. President George H. W. Bush and his wife during their visit to China, bringing it worldwide fame. In June 2006, " Tujia Brocade Weaving Craftsmanship" was included in the first National List of Intangible Cultural Heritage, ushering in new historical development opportunities for Xilankapu. (Tian, 2025)

Challenges and Solutions for Xilankapu

However, with the rapid development of industrialization in modern society and the increasing disparity between urban and rural economies, the preservation and inheritance of Xilankapu face severe challenges. The aging and discontinuity of inheritors have become primary constraints on its development. (Li, 2025) According to 2022 statistics from the Enshi Prefecture Intangible Cultural Heritage Protection Center, the average age of local inheritors mastering the complete Xilankapu techniques exceeds 60, with fewer than a hundred individuals proficient in the core skills. The younger generation generally lacks interest in learning due to low economic returns and the long learning period. To address this, the Enshi Prefecture Government has strengthened its efforts in the protection and training of inheritors of traditional crafts. Relevant government departments have implemented sufficient incentive policies and appropriate protective measures, providing material and spiritual rewards to inheritors, such as offering facilities and funding for related activities and simplifying project application procedures. These efforts have effectively boosted young people's motivation to learn, helping to reverse the trend of "inheritors gone, craftsmanship lost," and making the transmission of Tujia brocade possible.

Secondly, the loss of traditional patterns and a lack of innovation constitute the second major constraint. Historically, the transmission of Xilankapu patterns relied mainly on the "mother-daughter" transmission mode within families. However, with the development of modern education systems, this kind of model is gradually diminishing. Simultaneously, innovation in patterns is also limited by weavers' aesthetic literacy and technical capabilities, resulting in many products remaining at the stage of imitation and replication. To tackle these issues, on the one hand, the Enshi Prefecture government has organized relevant intangible cultural heritage inheritors to systematically record and document Xilankapu patterns, compiling them into archives to prevent their loss. On the other hand, by analyzing, transforming, and refining traditional motifs, these motifs have been developed into relatively stable conceptual symbols, thereby bridging the gap between traditional craftsmanship and modern visual art. For instance, collaborations with independent designers have been sought to launch new fashion trends. The "Forty-Eight Hook Motif" has been transformed into three-dimensional embroidery for apparel design, among other adaptations, promoting the inheritance and innovation of Xilankapu within the framework of modern design concepts.

Additionally, the singularity and inefficiency of dissemination channels present a third major challenge. Traditional sales models relying on scenic spot stores and festival exhibitions struggle to attract younger consumers. While some enterprises have attempted online sales through e-shops, the lack of professional operation and effective content planning has led to suboptimal online marketing results. In response, the Enshi Prefecture government has utilized short-video platforms and virtual communities by releasing "30-Second Brocade Weaving Tutorial," distributing consumption vouchers for handmade woven products, and establishing digital museums, attracting a large number of online users. Concurrently, big data analysis is employed to understand consumer preferences and deliver targeted, customized messages. For example, "constellation-themed brocades" with patterns designed around astrological signs have been launched for astrology enthusiasts; "health-preserving cushions" with herbal medicine balls and mugwort fillings have been designed for the elderly. Sales trends are tracked using search and purchase data from platforms like Taobao and Tmall to promptly adjust product strategies.

Xilankapu is a cultural heritage of immense artistic value and cultural significance, playing a vital role in transmitting ethnic traditional culture and promoting Chinese aesthetic and value concepts. In the new era, it is essential to base efforts on the characteristics of socio-cultural development, explore its cultural distinctiveness, and adopt innovative models for its dissemination and promotion. This will inject new vitality of the times into intangible cultural heritage, stimulating people's enthusiasm for inheriting and promoting it.

References

1. 崔岩.调研分析:西兰卡普的非遗价值[J].丝绸,2024,61(09):136-140.

2. 李娜,刘晓艳,董余琴,陶钰婷.非遗视域下土家织锦“西兰卡普”的传承与创新研究[J].西部皮革,2025,47(07):123-125.

3. 田娟. 西兰卡普文化符号的建构与传播[D]. 湖北民族大学, 2025.

Terms

铺盖coverlet

图案patterns

工艺craftsmanship

织机loom

土司chieftains

贡品tribute

百果花ginkgo flowers

双阳雀Double Yangque motif

四十八勾纹样Forty-Eight Hook Motif

星座constellation

艾草mugwort

Questions

1. “西兰卡普”在土家语中是何含义？

2. 西兰卡普与其他哪两种织锦并称中国三大名锦？

3. 土家织锦在唐宋和明清时期分别有哪些称谓？

4. 关于西兰卡普的由来有哪两种传说？

5. 文章指出西兰卡普在当代传承中面临着哪三大主要挑战？

Answers

1. “西兰卡普”在土家语中，“西兰”意为“铺盖”，“卡普”指“花”，因此也称作“土花铺盖”。

2. 西兰卡普与壮锦、苗锦并称“中国三大名锦”。

3. 唐宋时被称为“贡布”、“溪布”，明清时期则有“斑布，即土锦”的记载。

4. 一说“西兰”是一位为学织百果花而屈死的姑娘；另一说“西兰”与“卡普”是一对因共同追求织锦之美而结合、最终双双蒙冤的青年。

5. 首先，传承人的老龄化与断层问题；其次，纹样流失与创新乏力问题；第三，传播渠道的单一性与低效性。

湖北恩施土家族西兰卡普织锦

西兰卡普介绍

“西兰卡普”是土家族传统手工织锦，土家语中“西兰”意为铺盖，“卡普”指花，故也称“土花铺盖”。它以精美图案、丰富色彩和独特工艺成为土家族文化的重要象征，是土家人智慧与技艺的结晶，被誉为“土家之花”。过去土家姑娘出嫁时常在织机上亲手制作西兰卡普。其与壮锦、苗锦并称“中国三大名锦”。作为外界了解土家族文化的重要代表，西兰卡普融合了民族传统符号、图案与意象，体现了土家族古代的信仰、哲学与价值观念。（Cui，2024）

西兰卡普历史

土家织锦历史悠久，起始于商周，初雏于秦汉，基本成型于两晋，成熟于唐宋，至明清臻于完美。唐宋时被称为“贡布”、“溪布”，明清时期则有“斑布，即土锦”的记载。历代以来，它都被土司作为上等贡品或著名土产向朝廷纳贡，并于1957年随土家族民族身份确认而正式定名。其最具代表性的“西兰卡普”，史籍记载虽零碎，但相关传说在湘西北酉水流域的永顺、龙山、保靖等地广为流传，且版本多样。一说“西兰”是一位为学织百果花而屈死的姑娘；另一说“西兰”与“卡普”是一对因共同追求织锦之美而结合、最终双双蒙冤的青年。无论哪种传说，都寄托着土家人民对美的执着追求，以及对创造这一瑰宝的先辈的敬仰与怀念。1988年，土家织锦包《双阳雀》作为国礼赠予访华的美国总统布什及夫人，由此享誉世界。2006年6月，“土家族织锦技艺”入选首批国家级非物质文化遗产名录，西兰卡普由此迎来了新的历史发展机遇。（Tian，2025）

西兰卡普面临的问题及解决方案

然而，随着现代社会工业化的迅猛发展和城乡经济差异的日益凸显，西兰卡普的保护和传承也面临着诸多严峻的挑战。传承人的老龄化与断层问题，成为了制约其发展的首要因素。（Li，2025）据恩施州非物质文化遗产保护中心2022年的统计，当地掌握完整西兰卡普技艺的传承人平均年龄超过60岁，熟练掌握核心技艺者不足百人，年轻一代因经济回报低、学习周期长等原因普遍缺乏学习兴趣。为了改变这一现状，恩施州政府加大了对传承艺人的保护和培训力度。政府相关部门实施了充分的鼓励政策，采取适当的保护措施，对传承人给予物质与精神上的奖励，如为相关活动提供设施与资金、简化项目申报手续等。有效促进了年轻人学习的积极性，逆转传承人“人绝艺亡”之势，使士家织锦的传承成为可能。

其次，纹样流失与创新乏力是制约其发展的第二大因素。过去西兰卡普纹样的传承主要依赖家庭内部的“母女相传”模式。然而，由于现代教育体系的发展，这种家庭传承模式正在逐渐消亡。同时，纹样的创新还受到织工审美素养和技术能力的限制，导致许多产品仍停留在模仿复制阶段。针对以上问题，一方面，恩施州政府组织了相关非遗传承人对西兰卡普纹样进行了系统的记录和整理，将其收录在册，避免纹样失传。另一方面，通过解析、转化和再提炼传统纹样，将其发展成为相对稳定的观念性符号，打破传统手工艺和现代视觉艺术之间的界限。例如，寻找独立设计师合作，推出新潮流时装。将“四十八勾”纹样转化为立体刺绣，应用于服饰设计等，这些转化推动了现代设计理念下西兰卡普的传承与创新。

此外，传播渠道的单一性与低效性是其面临的第三大问题。传统销售模式依赖于景区门店与节庆展销的方式，难以吸引年轻消费群体。虽然部分企业已经尝试通过开设网店来进行销售推广，但是由于缺乏专业的运营与有效的内容策划，线上营销效果并不理想。对此，恩施州政府利用短视频平台、虚拟社区等，通过发布“30秒织锦教学”、发放手工织品购买消费券以及搭建数字博物馆等方式，吸引了大批线上的网民。同时，利用大数据分析消费者偏好，定向推送定制化消息。例如，针对星象爱好者推出“星座主题织锦”，结合星象设计纹样；针对老年人设计“养生靠垫”，融入草药团与艾草填充物等。通过淘宝、天猫等购物平台的搜索、购买数据，追踪销售趋势，即时调整产品策略。 西兰卡普是极具艺术价值与文化内涵的文化遗产，对于传承民族传统文化、弘扬中华审美理念与价值理念具有重要意义。新时期，应当立足于社会文化发展特点，挖掘出其中的文化特色，采用创新模式对其进行传播弘扬，为非遗文化注入新的时代活力，激发人们传承弘扬非遗文化的积极性。