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Lu silk is a cultural symbol that records the unique social life and thoughts of people in southeastern Shanxi containing rich folk customs and culture and reflecting distinct regional characteristics. The weaving technology of Lu silk is not only one of the national intangible cultural heritages but also a classic representative of Shanxi silk weaving technology. However due to the decline of the Lu silk industry in the later period and the lack of relative data there are few studies on it. At present studies mainly focus on the artistic style and digital protection methods of Lu silk and studies on the craftsmanship of Lu silk are mostly limited to records of its traditional handicrafts. There is still a gap in the exploration of Lu silk jacquard craftsmanship. The research on the dyeing of Lu silk is limited to the interpretation of colors and the literature review of dyeing methods without restoring the dyeing process of Lu silk. To provide people with a deeper and more comprehensive understanding of the weaving process of Lu silk this article takes Lu silk objects woven by traditional techniques as the research object and interprets the weaving and dyeing process of Lu silk from the perspective of historical and culture region and folk customs in southeastern Shanxi. The main idea is to conduct deep research on the unique weaving process of Lu silk including symmetrical weaving the combination of stick knives and pattern needles and layered dyeing process. It can provide valuable experience for studies on intangible cultural heritage in the future so that traditional textile technology of Lu silk can be better promoted and inherited. Interpreting the weaving and dyeing techniques of Lu silk from the perspective of historical culture regional factors and folk customs in southeastern Shanxi is a typical case study of the relationship between regional culture and traditional techniques and can fill the gap in the overall framework providing valuable experience for further research on intangible cultural heritage. The research has shown that the weaving and dyeing process of Lu silk is closely related to the geographical environment historical culture folk customs and other factors in southeastern Shanxi and contains rich humanistic connotations as reflected in the following aspects. First Lu silk takes traditional symmetry as beautiful and expands the width of the covered door by combining practicality and aesthetics through symmetrical assembly techniques lifting devices and adding plain edges. The lifting device introduced with the appearance of modern jacquard machines needs to be coordinated with the stick knife to achieve the highest efficiency. Its unique embedded symmetrical structure not only saves the workload of artisans in drawing but also improves the width of the quilt surface under a limited number of stitches. The combination of artistic aesthetics and weaving techniques reflects the external characteristics of folk preferences and reflects the traditional and natural folk customs. Second the special regional characteristics of combining roughness and delicacy as well as the open exchange of Shanxi merchant culture have driven the migration of value orientation in southeastern Shanxi jointly affecting the raw materials weave structure and exquisite expression of Lu silk. Using filature silk and synthetic silk with better performance for interweaving reduces hairiness and weaving defects to a certain extent and by utilizing the differences in fineness between warp and weft the full and three-dimensional pattern can be better expressed the weave structure is often paired with satin and floating length resulting in a good appearance glossiness the various processing techniques used by the artisan such as Jiansi shadowing and Nidi all enhance the three-dimensional effect of the pattern. Third the red worshiping custom in southeastern Shanxi is in line with Chinese tradition which is mainly reflected in the main color tone of Lu silk regarding red as beautiful. Traditional Lu silk is dyed with grass and wood with safflower as the red dye. The red color of modern Lu silk originated from the national flag red. By adopting a layered dyeing process and utilizing the difference in dyeing performance between mulberry silk and artificial silk a set of warp colors and two sets of weft colors are presented. This article interprets the weaving process of Lu silk from the perspective of regional culture and folk customs in southeastern Shanxi explores the manifestation of regional cultural value in Lu silk fabrics reconstructs the cultural identity centered on Lu silk and aims to inherit and revive Lu silk skills. [ABSTRACT FROM AUTHOR]

Pre, Qin attire jade in Chu area refers to the decorative jade of the State of Chu before the Qin Dynasty and the regions belonging to the State of Chu. The attire jade with phoenix pattern unearthed from Chu tombs is considerable in quantity and diverse in shape, showing a decorative style and cultural connotation different from the jade in the Central Plains. Since the art of attire jade with phoenix pattern is an important part of Chu costume culture, the research on the value construction of attire jade with phoenix pattern in pre, Qin Chu is of great value to restore the artistic origin of the attire jade in pre, Qin Chu and to systematically study the costume culture of pre, Qin Chu. By using the methods of type analysis, comparative analysis, two, dimensional verification of historical documents and archaeological objects, this paper analyzes the value construction of the attire jade with phoenix pattern unearthed from Chu tombs. The following four important conclusions are drawn: ) During the Spring and Autumn and the Warring States Period, the theory of Yin, Yang and Five Elements prevailed. Under the influence of this thought, in the late Spring and Autumn period, the prototype of the ',' (wind) shaped dragon and phoenix pattern attire jade appeared in Chu. According to the Five Elements Theory, dragon and phoenix belong to the attributes of Yang and Yin respectively. The attire jade with dragon and phoenix patterns in the pre, Qin Chu area shared the same form of dragon dead and phoenix head in one jade article, reflecting the praise and pursuit of the Chu people for a harmonious society and eternal life, and the dialectical ideological value of Yin and Yang coexistence constructed by them. A large number of jades with dragon and phoenix appendage patterns unearthed from Chu tombs in the early Warring States period are mostly constituted in the form of phoenix patterns standing on dragon patterns or phoenix patterns occupying the central position. From the spiritual point of view, phoenix pattern is the symbol of national spirit of Chu nationality. The attire jade with dragon and phoenix appendage patterns shows the great power identity of Chu, and constructs the national spirit and the spiritual value of national dignity. In the late Warring States period, the attire jade with independent phoenix patterns in Chu areas mostly shows the phoenix with a raising head, open mouth and spreading wings. The style changed from abstract simplicity in the early Warring States period to realistic gorgeousness, which was because of the prevalence of romantic cultural trends on one hand. On the other hand, the Chu people integrated the determination of self, immolation by drilling fire and ambition into the phoenix pattern jade, in order to construct the value of 'the nirvana of phoenix and the rebirth by bathing fire'. As an excellent regional culture at that time, the Ancient Shu Civilization affected the adjacent Chu during the cultural exchange, so that the pre, Qin Chu phoenix pattern attire jade reflected the common characteristics of the times with the Ancient Shu artifacts art. Among them, the phoenix pattern showed the shape of vivid image and mysterious charm, and constructed the aesthetic value of expressing spirit with shape. On the research basis of the archaeological material of Chu tombs and combined with the development history of Chu and the latest research results, this paper considers the creation logic of Chu people, and systematically excavates the occurrence, acquisition and change of the art of attire jade with phoenix patterns in pre, Qin Chu area, deeply explores the value construction of the attire jade with phoenix pattern in pre, Qin Chu area from multiple perspectives, and deconstructs the cultural field and context of attire jade with phoenix pattern in pre, Qin Chu area. [ABSTRACT FROM AUTHOR]