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Final Exam Paper

Bai Tie-dyeing Chapter 1 General Introduction 1.1Research Background 1.2Research 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-dye inheritance 4.1 Innovation of high-end product made from tie-dye 4.2 Application of AIGC System

Chapter 1 General Introduction 1.1 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.

1.2 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.

Chapter 2 Historical Origin 2.1 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.

   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.

2.2 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.

   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.

2.3 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, 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.

2.4 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.

Chapter 3 The Dilemma of Inheritance 3.1 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 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 essential to develop strategies that encourage the younger generation to engage with and learn traditional tie-dyeing techniques. This could involve educational programs, workshops, and incentives that highlight the cultural significance and potential economic benefits of mastering these skills. Additionally, collaborations between experienced artisans and young live-streaming hosts could bridge the gap, allowing for the effective dissemination of tie-dyeing culture while ensuring its continuity for future generations.

3.2 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.

3.3 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.

Chapter 4 Solutions to tie-dye inheritance 4.1 Innovation of high-end product made from tie-dye

   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.

4.2 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.

   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 (Augmented Reality) 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.

Terms 扎染tie-dyeing 非物质文化遗产intangible cultural heritage 扎缬binding 撮缬pleating 夹缬Cliping 绞缬twisting 打结knotting 折叠串缝folding and sewing 鹿胎缬deer placenta valerian 玛瑙缬overlapping spots valerian like agate 叠胜缬continuous net-like patterns in four directions 四瓣花罗four-petal pattern 七宝纹shippou pattern 花鸟纹pattern with birdflower design 茜草madder 赭石ochre 扎花 tie-flowering 浸染 dip-dyeing 拆线 stitch removal 土靛 soil indigo 湿靛 wet indigo 板蓝根isatis root

Questions: 1.What is Bai Tie-dyeing? 2.What are 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?

Reference [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 [10]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.

白族扎染

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的起源 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营销方式落后 第四章扎染传承的解决方案 4.1扎染高端产品创新 4.2 AIGC系统的应用

第一章 总体概述 1.1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。

1.2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。  

第二章 历史渊源 2.1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。 

   周城，被称为“白族扎染之乡”，位于大理古城以北23公里处。它位于滇藏高速公路旁，距离下关38公里。它是云南省最大的自然村，占地7平方公里，人口超过8868人，几乎都是白族人。该村有1500多户白族居民，是大理最大的白族村寨。它是白族开放的民俗旅游区，吸引各地游客前来旅游。

2.2不同历史时期的发展特点

   唐真元十六年，南诏舞蹈团赴长安演出。他们所穿的服装，被描述为“用鸟、兽、植物和树木的描绘制成的裙子和夹克，用八色混合皮革制作的图案”，是用扎染技术制作的。我们现在看到的最早的扎染实物证据来自新疆吐鲁番的阿斯塔纳。这件汉代器物大约有两千年的历史。从这个织物碎片中，我们可以观察到染色的状态：缬草点，类似于鱼子酱，大小均匀，排列均匀，颜色鲜艳。这些特点充分说明，扎染技术在秦汉时期已经达到了较高的水平。基于这一证据，我们有理由推断，我国手工印染技术的起源应该早于秦汉时期。早期的例子没有被发现的原因可能是由于长期保存纺织品的困难，而不是缺乏这种基本的印花和染色织物。 

   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。

   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。

2.3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，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。

2.4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。

第三章 传承困境 3.1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。非遗直播的推行，需要会使用直播媒介且愿意宣传扎染文化的主播来推动。年轻人对媒介的接受程度及对新事物的学习能力更高，本应是非遗直播主播的优良人选，但年轻人并没有掌握传统的扎染工艺，因而导致非遗直播的推行比较困难。

   推广宣传包括扎染在内的非物质文化遗产直播，需要直播主持人的细致理解和积极参与。这些利用直播媒体的主持人在宣传扎染文化方面发挥着至关重要的作用。总而言之，年轻人对现代媒体的接受程度更高，学习新事物的能力也更强，便成为了非遗主播理想人选。然而，年轻一代还没有掌握传统的扎染技术，挑战频频。知识和技能上的差距让非物质文化遗产尤其是扎染的直播推广步履维艰。 

   为了解决传承困境，必须制定策略，鼓励年轻一代参与和学习传统的扎染技术。其中包括教育项目、研讨会和激励措施，突出掌握非遗传承技能的文化意义和潜在的经济效益。此外，经验丰富的工匠和年轻的直播主持人之间的合作可以弥合差距，既可以有效地传播扎染文化，又可以确保其传承给后代。

3.2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。

3.3营销方式落后

  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。

第4章 扎染传承的解决方案 4.1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。

4.2 人工智能系统的应用

   在扎染的数字化转型和创新实践中，AIGC （Artificial Intelligence Generated Content，人工智能生成内容）技术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。 

   在体验创新方面，可以建立虚拟扎染互动平台。利用VR（虚拟现实）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AR （Augmented Reality）技术，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。 

   为确保数字化转型过程中的文化价值和知识产权保护，区块链技术的引入尤为重要。它可以赋予数字扎染作品或实体扎染产品一个唯一的、不可改变的数字身份标识，记录产品整个生命周期的材料溯源、工艺流程、文化内涵等核心信息。这不仅验证了非物质文化遗产技术的真实性和传承性，也为知识产权保护构筑了坚实的屏障，防止盗版和侵权。为扎染文化在当代文化创意产业、跨界合作等领域的拓展提供可靠的价值支撑。 

   通过AR（增强现实）和VR（虚拟现实）技术的融合，用户可以通过手机或VR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。