Soushenji records many short stories, among which there is no lack of information related to textile and clothing. Soushenji includes both myths and objects of textile and clothing, and textile and clothing items that existed in the historical life at that time. However, the historians on textile and clothing have not paid enough attention to the information on textile and clothing in Soushenji because the storyline of the novels is strange. The description of textile and clothing in Soushenji is still quite valuable. Textile myths and metaphysical textile objects are the exaggerated performance of textile production, life and psychology at that time, and the emergence of which has a profound root cause and psychology of textile and clothing economy and culture. At the same time, the detailed description of the ancient real textile clothing items is also worth examining and researching. It is precisely because these descriptions in Soushenji must have a sense of immersion that readers at that time had a sense of identity with the plot of the novel. Therefore, the research in this aspect can provide a glimpse of people’s textile and clothing production and life in the Eastern Jin Dynasty from another dimension, and even some of the descriptions can be complementary to the history. Through the two-dimensional analysis of literature and archaeological objects, the article provides a cultural interpretation of the textile and clothing information in Soushenji on the one hand based on the socio-psychological point of view; and on the other hand, the textile and clothing items in Soushenji are examined and re-studied from the techno-historical point of view, with the aim of analyzing the history of textile and clothing of the Eastern Jin Dynasty in the context of two-dimensional analysis of myths and historical materials. Two major conclusions are drawn. First, the textile myths in Soushenji have a profound social psychology, and that the real social psychology of the groups engaged in clothing production can be found in the exaggerated and unconventional descriptions of the period. The myth of the giant cocoon expresses the low productivity of silk weaving and the legacy of the silk cult; the myth of Dong Yong and the weaving maiden is only a story of filial piety in Soushenji, irrelated with love, but a manifestation of the producers’ desire for superior skills; the myth of the silkworm maiden with horse skin is a simple misinterpretation of the similarity between the images of horse, silkworm and woman constructed by the producers in the production process, as well as an artificial link between the forbidden original silkworm, the heavenly horse and the earthly silkworm. The construction reflects the attempt to glimpse the mechanics of how things happened at the time from the connection. The depiction of Fuyao in Soushenji is nothing more than a mystical approach to the failure of people to find costume visions for political figures, and its emergence is rooted in the physical reflection of the idea of the Mandate of Heaven. Second, the weaving in Soushenji is a fabric woven on the basis of the design requirements of the costume, thicker and denser than silk, unlike the traditional understanding. The names of costume items in Soushenji follow the representational structures of “material + costume” and “shape + costume”, which became important representations of ancient Chinese costume items. [ABSTRACT FROM AUTHOR]