我国少数民族非遗文化的传承与创新——以贵州丹寨蜡染为例

苗族蜡染产业是苗族传统文化的核心载体与贵州重要的非物质文化遗产,在文化传承 and 经济发展中具有显著价值。本文以贵州省苗族蜡染产业为研究对象,采用实地调研、问卷调查、案例访谈及实证分析相结合的方法,探究其品牌建设的影响因素与优化路径。基于100份有效问卷,通过描述性统计、信效度检验、斯皮尔曼相关分析和多元线性回归分析,验证产品设计、品牌定位、宣传手段及性别因素对品牌建设的作用。结果显示,产品设计对品牌建设有积极的促进作用,品牌定位模糊、宣传方式不合理则产生抑制作用,性别因素呈现差异化影响。结合产业特点,从精准定位、产品创新、营销传播、人才培养和政策保障五方面提出优化路径。

tHEiR BLUE(她们的蓝)is a thesis project dedicated to exploring, promoting, and honouring Miao Batik, one of the Intangible Cultural Heritages (as defined by the United Nations Educational, Scientific, and Cultural Organization in 2003) of China, and its inheritors—the Miao women. The Miao are one of the 55 recognized ethnic minorities in China. For more than two millennia of Miao Batik's existence, Miao women used beeswax to paint on cloth and dye it using indigo plants, thereby depicting and preserving the cultural and historical journey of the Miao people. Through this art form, they capture their reflections on life and convey hopeful wishes for future generations. This research project employs a multidisciplinary approach, including research-creation, storytelling, and interviews with inheritors of Miao Batik to explore the protective processes of Chinese traditional culture/intangible cultural heritage and the inadequate protection of women's social rights in Chinese (Miao) society. The project's creative output includes an artist’s book, videos, illustration designs, and Miao Batik artworks. Moreover, due to the unique aspects of Chinese/Miao culture and language expression, this thesis is written in both Chinese and English, with translations of references first processed through translation software and then refined by me.

With the rapid innovation and widespread use of digital technology, digitization has become an inevitable choice for the inheritance and development of intangible cultural heritage in contemporary times. This paper takes the intangible cultural heritage of Chinese Danzhai Miao batik as an example to study the advantages of VR animation technology applied in the digital transmission and protection of intangible cultural heritage. Combining historical books and documents and physical images, implementing digital restoration of the Danzhai Miao batik in Zbrush, topologizing the material mapping required for the artifacts in Adobe Photoshop, building the VR virtual display education space in 3ds Max, and rendering the final effect. By presenting the final results, the advantages of cooperation between interdisciplinary computer technology and intangible cultural heritage are reflected, and the future research of VR animation technology and 3D digital modeling technology in related fields is summarized. Better build a "panoramic" "experiential" "three-dimensional" digital scenes of intangible cultural heritage. It will provide strong support for the promotion and dissemination of Chinese intangible cultural heritage.

Abstract Cultural heritage has become a development resource for many rural areas in China driven by developmentalism and capitalism. This article takes handcrafts revival as a case study to demonstrate that how cultural heritage as rural economic development involves various power entanglements and interactions. In this process of development, we see how Miao people use their agency to enact different strategies to react to a multiplicity of circumstances. This research uses Rocheleau's rooted networks framework as a tool but expands the concept based on critical discussion and ambivalent experiences in Danzhai county, Guizhou Province, China. Collecting data from participatory observation, and a series of unstructured and semi-structured interviews in Danzhai, we explore the entangled web of network relations in the process of batik production, and examine how Miao artisans employ their agency to negotiate with different stakeholders and develop a regional batik market. Research demonstrates that making batik weaves Miao people's economic demand, social relations and cultural meaning to form a new social integration mechanism. This mechanism is networked by various relationships in Miao villages including production, distribution, exchange and cooperation. We find that the networks framework allows us to see how powers multiply, but could not explicitly explain some cases and concepts within local knowledge and social contexts. We find that it is necessary to modify Rocheleau's framework in order to incorporate non-western indigenous concepts in China.

… Danzhai batik, as a unique intangible cultural heritage … it is less affected by foreign cultures, which provides favorable … unique style Danzhai batik, as a unique intangible cultural heritage …

As an ancient folk art, batik has a production history of more than two thousand years in the world. In China, batik is mainly concentrated in the minority areas of southwestern, such as Guizhou, Yunnan, Hunan Province. The Miao batik art has rich patterns and profound cultural implications. At the same time, it has strong regional characteristics and national personality, showing the historical changes, cultural customs, and aesthetic ideas of Miao people. Danzhai is known as the “land of batik”, and the batik pattern is different from other batik types by its primitive and uninhibited style. This research introduces the history, special technological process, typical patterns, and aesthetic study of traditional Miao batik in Danzhai. And the purpose of this study is to discover the aesthetic characteristics of Danzhai Miao batik.

Bailing Miao batik from Danzhai, Guizhou Province, functions as both practical clothing ornamentation and a carrier of cultural meaning. This paper begins with an examination of the distinctive clothing characteristics of Bailing Miao men and women, situating batik within the broader ethnic cultural system. It then analyses the artistic features of batik patterns in terms of motif types, structural organisation, and colour schemes. Embedded cultural customs, cosmology, and religious beliefs are interpreted through batik imagery. The refined patterns adorning garments demonstrate the aesthetic sensibility, technical mastery, and creative agency of Bailing Miao women, highlighting batik as cultural heritage in today's China.

Abstract Batik is a significant facet of China’s intangible cultural heritage. It reflects the refined textile craftsmanship of ethnic minority communities and carries deep cultural, artistic, and economic value. This study analyses 1438 Chinese-language articles from the CNKI database published between 1959 and 2024. It applies bibliometric methods and visual mapping techniques to examine the evolution of batik research over the past 65 years. Using CiteSpace, the study identifies patterns in publication output, institutional distribution, author contributions, and topic clustering. It also highlights persistent challenges, such as limited collaboration among scholars, uneven regional participation, and a need for more interdisciplinary engagement. Based on these findings, five strategic directions are proposed to improve research quality, broaden comparative scope, and encourage more collaborative innovation in future studies.

… However, as a form of intangible cultural heritage, batik still … of batik products and develops a domain ontology for batik. … the same batik design category, binary processing of the batik …

Guizhou batik is a typical representative of textile dyeing intangible cultural heritage. This paper explores the feasibility of integrating generative AI with Guizhou batik by examining the current state of both fields. It proposes how generative AI can address existing challenges in Guizhou batik, such as the uneven distribution of inheritors and the outdated pattern symbols and design language. Furthermore, it discusses how traditional handicrafts can coexist with digital intelligence in the modern era. The study also demonstrates that the introduction of generative AI not only enables efficient design and enhances artistic expression but also preserves the traditional characteristics of batik craftsmanship, providing insights into the digital-intelligent integration of Guizhou batik art.

… , Starbucks and Guizhou Danzhai Batik Technology jointly launched China’s first intangible cultural heritage experience store in 2021, integrating the cultural experience for customers …

Purpose-This study analyzes the current situation and characteristics of the communication of Guangxi Miao batik on the Chinese social media (Douyin), and explores the commercial value of this Chinese intangible cultural heritage spread on Douyin. Methodology-This research uses a qualitative research method which collects data by interview method and network observation method. To use the theory of symbolic interaction theory to analyze the current situation and characteristics of Guangxi Miao batik communication on Douyin. Results-Miao batik has a lot of content and characters that can be developed and shared in Chinese social media (Douyin). Batik culture communication has achieved certain results under social media by the government, the media, and many individuals. However, there are still many problems, such as the lack of application of new media technology, the need to improve and innovate content quality, and the lack of combination of Miao batik communication and market development. To create representative social media works that spread Guangxi Miao batik, we must be good at using new media technology, while improving the quality of communication content and realizing the combination of batik communication and e-commerce. Practical implications-This study promotes the introduction of batik products to the market as special tourist souvenirs, and integrates them with fashion design, home design, cultural and creative peripherals and other fields. This study puts forward some suggestions to further improve the dissemination of Guangxi Miao batik on Chinese social media (Douyin) and promote the protection and inheritance of batik craftsmanship.

This paper explores the modernization development of Miao batik, a traditional intangible cultural heritage of the Miao ethnic group in Yibin, Sichuan Province. The study investigates the integration of traditional batik craftsmanship with contemporary design concepts, digital technologies, and modern marketing strategies. Drawing upon the project "Wenyu Lianchuang—Modern Development of Miao Batik," this research examines the transformation of traditional techniques through product innovation, digital communication channels, and cultural branding. The findings reveal that the integration of traditional craftsmanship with new media platforms, e-commerce channels, and modern design aesthetics effectively enhances both the market competitiveness and cultural visibility of Miao batik. This study contributes to the understanding of sustainable heritage preservation by demonstrating how traditional crafts can be revitalized through strategic modernization while maintaining their cultural authenticity.

This work explores Miao’s decorative art. The relevance of the study stems from the fact that artefacts produced by Miao people have high aesthetic and cultural values, whereas decorative patterns covering their surface have meanings, which transform over time. Research objects are from the Palace Museum in Beijing. Various research methods were used to determine the visually encoded meaning of Miao ornaments within the context of philosophy, mythology and ethnic religion. This study answers questions about the evolution of Miao decorative patterns and offers a thoughtful overview of risks and prospects of today’s Miao culture.

Miao embroidery holds significant cultural, economic, and aesthetic value. However, its transmission faces numerous challenges: a high learning threshold, a lack of interest among younger generations, and low production efficiency. These factors have created obstacles to its sustainable development. In the age of artificial intelligence (AI), generative AI is expected to improve the efficiency of pattern innovation and the adaptability of the embroidery industry. Therefore, this study proposes a Miao embroidery pattern generation and application method based on Stable Diffusion and low-rank adaptation (LoRA) fine-tuning. The process includes image preprocessing, data labeling, model training, pattern generation, and embroidery production. Combining objective indicators with subjective expert review, supplemented by feedback from local artisans, we systematically evaluated five representative Miao embroidery styles, focusing on generation quality and their social and business impact. The results demonstrate that the proposed model outperforms the original diffusion model in terms of pattern quality and style consistency, with optimal results obtained under a LoRA scale of 0.8–1.2 and diffusion steps of 20–40. Generated patterns were parameterized and successfully implemented in digital embroidery. This method uses AI technology to lower the skill threshold for embroidery training. Combined with digital embroidery machines, it reduces production costs, significantly improving productivity and increasing the income of embroiderers. This promotes broader participation in embroidery practice and supports the sustainable inheritance of Miao embroidery. It also provides a replicable technical path for the intelligent generation and sustainable design of intangible cultural heritage (ICH).

Nowadays, because the mainstream culture occupies a large number of resources in the communication field, the spread of many intangible cultural heritage has been squeezed, and batik is one of them. Guizhou batik culture, in terms of its development space, in the collision with the mainstream culture, is in a relatively disadvantaged position. However, with the accelerating process of globalization and the rapid development of information technology, we can strive to improve the translation effect by means of the combination of translation theory and communication theory, taking the 5W mode of communication as the macro guidance and "function plus loyalty" proposed by Christian Nord as the principle. The 5W mode of communication proposed by Lasswell not only summarizes communication as five important factors, but also provides new inspiration for translation scholars. Taking the translation practice of Splendid China · Guizhou Batik as an example, this paper mainly expounds the infiltration of 5W mode of communication into the translation strategy and translation skills from five factors, namely, who (author and translator), says what (communication content), in which channel (media research) and with what effect, so as to enhance the spread of batik culture in Guizhou.

Objective – Miao embroidery is vital to Miao culture, representing their national identity through its patterns and colours. However, in the face of globalization and the digital age, there is an urgent need to combine tradition with modern technology to innovate and preserve Miao embroidery. Methodology – In this study, we explored the artistic characteristics of Miao embroidery by digital means and used computer design tools to refine the pattern elements and colour genes. Research methods combine qualitative and quantitative analysis, including phenomenology, ethnographic research, content analysis, questionnaires, image and colour analysis, etc. Findings – Through computer graphics software, pattern colour extraction, and innovation are realized, the integration of traditional culture and modern design is promoted, and a new way is provided for the digital protection and dissemination of intangible cultural heritage. Novelty – The research enhances the vitality and influence of Miao embroidery in global cultural diversity and includes case studies and practices of digitized intangible cultural heritage. Type of Paper: Empirical JEL Classification: O10, O19, O33. Keywords: Guizhou Miao embroidery; cultural innovation; qualitative and quantitative analysis; digitized intangible cultural heritage Reference to this paper should be made as follows: Na Z; Sharudin, S.A. (2024). Research on Innovative Development of Miao Embroidery Intangible Cultural Heritage in Guizhou, China Based on Digital Design, J. Bus. Econ. Review, 9(2), 85–94. https://doi.org/10.35609/jber.2024.9.2(1)

… time with students from Guizhou Ethnic Minority University. My … Cultural heritage, agricultural technological innovation, and e-… To answer concerns that Dong material culture and craft …

Southwest of China is famous for its long borders, natural diversity and rich minority cultural resources, so the region has to deep on the resources and traits to develop itself in order to make rural revitalization come true. Minority’s handicraft resources are very rich and can be devided into the following 8 kinds as metal, pottery, weaving, knitting, traditional musicial instrument, sculpture, building and paper-making. These handicraft resources which are regarded as “living fossil” for researching minority cultures are full of ethnic groups’ living wisdom and artistic appreciation, and reflect the special charm. Handicrafts industrialization is a key way for ethnic groups to protect their traditional minority culture and develop economy based on the resources. However, because of regional imbalance development, low need for handicraft, weak market arareness for craftssman, there is a long way to make minority’s handicrafts industrialized, so the paper analyses the predicaments and also gives some suggestions to solve them.

… The bird-shaped and feather patterns of Miao clothing from Guizhou province relate to the … By featuring displays of the “ingredients” that are used to create the textiles in the Craft section, …

… and cultural heritage and exquisite handmade skills of Guizhou Miao embroidery are important … This model of integrating traditional arts and crafts resources into teaching has greatly …

Abstract Visualizing difference is central to ethnic tourism and intangible cultural heritage (ICH) performance in Southwest China today. The expectation that individuals in ethnic minority communities will always be dressed and ready to meet romanticized expectations, while otherwise living their lives, creates new subjectivities and refashions how people think about and interact with their traditional material practices. ICH interventions may promise support for minority cultural reproduction but can instead disincentivize the intergenerational transmission of skilled knowledge. At the same time, individuals are experimenting with new forms of entrepreneurial heritage-making that meet community needs without official ICH endorsement, including the development of small-scale ethnic fashion industries. Based on fieldwork in Baiku Yao and Sanjiang Dong communities in the Guangxi Zhuang Autonomous Region, this study highlights individuals engaged in the making, wearing, and marketing of minority dress on an expanding national stage.

黔东南州是苗族侗族少数民族最为集中的地区，自然环境优美，生态优良，气候适宜，民族风格独特，文化底蕴深厚，发展旅游业有得天独厚的条件。该文阐述了当地的自然资源优势，分析了文旅融合对乡村经济发展的影响，从民族文化保护与传承、政策支持、构建精准立体营销体系、创新营销模式、创新文旅产业业态新模式、传统产业转型升级等方面提出乡村经济发展路径，助力黔东南州文旅融合良好发展。