王梓藝

在苗族風(fēng)情濃郁的黔東南，若你有幸參加一場(chǎng)盛會(huì)，就將收獲一次極致的民族文化體驗(yàn)：熠熠生輝的銀飾、艷麗奪目的盛裝、古樸瀟灑的蘆笙舞、鱗次櫛比的吊腳樓、雕梁畫(huà)棟的風(fēng)雨樓、熱情難當(dāng)?shù)臄r門(mén)酒、精巧秀致的苗族剪紙……在每一個(gè)生活場(chǎng)景，在每一個(gè)平凡的日常，非物質(zhì)文化遺產(chǎn)的力量都是如此鮮活。

雷山苗銀——苗疆深處的銀匠樹(shù)

“?！！！遍T(mén)坊里不時(shí)傳來(lái)細(xì)細(xì)敲打金屬的聲音，這是楊光賓正竄著小錘子在敲打銀片。楊光賓是雷山縣控拜村有名的銀匠，他自幼跟隨父親學(xué)習(xí)銀飾鍛制，2007年當(dāng)選為第一批國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)傳承人。目前，楊光賓正為國(guó)家美術(shù)館制作12套苗族各支系銀飾盛裝。

早年從父親那里接過(guò)這門(mén)手藝時(shí)，楊光賓遠(yuǎn)沒(méi)想過(guò)這門(mén)村里家家部會(huì)的技藝有一天會(huì)成為國(guó)家非物質(zhì)文化遺產(chǎn)。

控拜村的銀飾制作技藝可追溯到400多年前。也許是大山太過(guò)寂寞，舉手投足間便能發(fā)出清脆樂(lè)音的銀飾便和悠揚(yáng)的蘆笙、苗族古歌一起流傳了下來(lái)。

苗族銀飾工藝繁復(fù)，匠人純手工打造的苗族銀飾有獨(dú)到的紋路和韌性，機(jī)械很難復(fù)制。微薄的收入難以供養(yǎng)精細(xì)的手藝。漸漸地，村里大多數(shù)人放棄古老的謀生方式，選擇去往發(fā)達(dá)的沿海城市打工。

2006年，雷山苗銀入選第一批國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)。成為非遺傳承人的楊光賓不拘一格，廣納賢才，將手藝教給了更多的年輕人。

得益于貴州旅游產(chǎn)業(yè)的發(fā)展，“以美麗回答一切”的西江千戶(hù)苗寨成為熱門(mén)旅游地，控拜村這個(gè)藏身于大山深處的銀匠村也得以出現(xiàn)在游客們的游記和攻略中。不少苗銀匠人紛紛返鄉(xiāng)創(chuàng)業(yè)，如今的控拜村幾乎一戶(hù)一個(gè)作坊，每家都有一名銀匠。

隨著銀飾鍛制技藝的傳承規(guī)模越來(lái)越大，控拜村又恢復(fù)了往日的生氣，年輕人正重新抬起這門(mén)手藝，尋一份傳承初心。

臺(tái)江苗繡——穿在身上的無(wú)字史書(shū)

若說(shuō)苗族銀飾是匠人精心鍛制的秀致詩(shī)篇，苗繡則是穿在身上的無(wú)字史書(shū)。

苗人崇尚自然，苗繡中最常見(jiàn)的蝴蝶紋、鳥(niǎo)紋、魚(yú)紋、花草紋、龍紋等，都寄托著他們?cè)级终鎿?、積極的生命觀。苗寨姑娘幾乎人人會(huì)刺繡。沒(méi)有扁稿，無(wú)需畫(huà)筆，僅憑從祖母、母親那兒傳承來(lái)的針?lè)妓嚕o以民族信仰、遷移歷史和對(duì)自然萬(wàn)物最直覺(jué)的抽象感知，就能繡出一幅幅絕美的苗繡。

臺(tái)江縣的潘玉珍是當(dāng)?shù)赜忻拇汤C能手，也是一位年近八旬的阿紅。2018年12月，在英國(guó)倫敦的圣詹姆斯富，潘玉珍穿著自己制作的苗族傳統(tǒng)服飾走上T臺(tái)。當(dāng)傳承千年的苗族美學(xué)閃耀秀場(chǎng)時(shí)，所有人部被震撼了。

多年來(lái)，潘玉珍帶著苗繡走出國(guó)門(mén)，足跡遍布十多個(gè)國(guó)家。每次歸來(lái)，她都會(huì)帶回?cái)?shù)十萬(wàn)甚至上百萬(wàn)美元的訂單。

潘玉珍的二女兒張艷梅也是當(dāng)?shù)赜忻睦C娘，她和妹妹一起創(chuàng)立了臺(tái)江縣仰黎苗族織繡工藝坊。通過(guò)發(fā)展民族工藝品，她們不僅實(shí)現(xiàn)了自己兒時(shí)的夢(mèng)想，還帶動(dòng)了一批貧困群體致富增收。如今，她們的刺繡產(chǎn)品遠(yuǎn)銷(xiāo)美國(guó)、日本、法國(guó)等國(guó)家。

來(lái)自深山的苗繡被發(fā)掘出更多“時(shí)尚因子”，紋樣被嵌入潮流服飾、文創(chuàng)周邊、景區(qū)伴手禮中，小眾工藝與大眾的接觸面交融，市場(chǎng)接受度不斷提升，登上時(shí)尚舞臺(tái)的繡娘和工坊作品越來(lái)越多，不少本土企業(yè)和以苗繡為特色的時(shí)尚品牌正在與國(guó)際接軌。

丹寨蠟染——大山里的“東方第一染”

同樣受到國(guó)際舞臺(tái)青睞的，還有丹寨的苗族蠟染。2020年2月，丹寨縣寧航工坊團(tuán)隊(duì)設(shè)計(jì)制作的36套蠟染服飾首次以專(zhuān)場(chǎng)形式亮相倫敦國(guó)際時(shí)裝周，引發(fā)全場(chǎng)驚嘆。

苗族蠟染是用蠟刀蘸熔蠟繪花于布，再以藍(lán)靛浸染。染色后水煮洗蠟，布面就呈現(xiàn)藍(lán)底白花或白底藍(lán)花的各種圖案。在浸染過(guò)程中，作為防染劑的蠟會(huì)出現(xiàn)自然龜裂，呈現(xiàn)出特殊的“冰紋”。這一工藝史可追溯到唐代，被稱(chēng)為“東方第一染”。相較于苗繡熱情大膽的用色，藍(lán)白搭配的蠟染更顯溫潤(rùn)。

丹寨苗族蠟染于2006年入選第一批國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)名錄。丹寨的苗族女性自幼便學(xué)習(xí)這一技藝，從栽培藍(lán)草、紡紗織布，到繪制紋樣、浸染剪裁，她們?nèi)枯p車(chē)熟路，并將這種技藝代代傳遞。對(duì)丹寨的苗女來(lái)說(shuō)，蠟染是她們生活的一部分，也是她們觀察世界、嘗試自我表達(dá)的最佳途徑。

寧曼麗來(lái)自安徽。在黔東南首府凱里，她第一次見(jiàn)到了丹寨蠟染。她深知這個(gè)來(lái)自大山深處的瑰寶所蘊(yùn)含的商業(yè)價(jià)值，于是她四處走訪(fǎng)，說(shuō)動(dòng)了當(dāng)?shù)氐膸酌灸锛尤耄诘ふh城成立了寧航蠟染。

2016年5月，中國(guó)民族博物館的專(zhuān)家到黔東南采風(fēng)，震撼于染娘制作的《百苗圖》，當(dāng)即決定收藏這幅作品，并為她們做一次特展。經(jīng)過(guò)這次轉(zhuǎn)機(jī)，寧航蠟染的市場(chǎng)逐漸拓寬，甚至還有高校邀請(qǐng)染娘們前去授課。

在寧航蠟染的帶動(dòng)下，目前丹寨縣頗具規(guī)模的蠟染工坊企業(yè)已發(fā)展到20余家，蠟染年產(chǎn)值超過(guò)2 000萬(wàn)元，不僅帶動(dòng)700余名染娘增收，而且成為丹寨縣有影響力和帶動(dòng)成效的特色產(chǎn)業(yè)。

不只是蠟染，丹寨作為非物質(zhì)文化遺產(chǎn)富集地，匯集了七個(gè)國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)。目前，在丹寨萬(wàn)達(dá)小鎮(zhèn)的200余家鋪面中，非遺文化商戶(hù)占比達(dá)75%，“非遺+旅游”成為丹寨縣推動(dòng)全域旅游的重要思路。游客們紛紛走進(jìn)景區(qū)，體驗(yàn)非遺項(xiàng)目，感受“有聲有色”的民族風(fēng)情。萬(wàn)達(dá)小鎮(zhèn)大放異彩，驚艷世界，成為名副其實(shí)的阿紅小鎮(zhèn)，也成為貴州非遺活態(tài)傳承的重要據(jù)點(diǎn)。

In the vibrant land of southeasternGuizhou Province， where theMiao ethnic group flourishes， if youare fortunate enough to participatein a gathering， you will have an extra-ordinary experience of its ethnic culture.Glistening silver jewelry， colorfuland glamorous costumes， the unpretentious，traditional Lusheng dance，clusters of diaojiaolou （wooden housessupported by 1—2 meters high pillars），the Fengyu Mansions （literally meaning“Mansions of Wind and Rain”） withintricately carved and painted beams，the heart-warming welcoming ritualswith aromatic wine at the entrance， andthe delicate Miao paper-cutting works：these daily items and rituals are the besttestament to the exuberant vigor of theintangible cultural heritages of the Miaoethnic group in Guizhou.

Leishan Miao Silver Jewelry： Treasure in the Heart of Miao area

“Clink， clink， clink！” The sound of gentle strikeson silver resonates in the workshop. Inside thedoor is Yang Guangbin， the renowned silversmithfrom Kongbai Village， Leishan County， who ishammering the silver pieces. Today， he standsamong a select few as an officially recognizednational-level inheritor of the intangible culturalheritage. Currently， he is working to create twelvetraditional costumes with silver jewelry， representingdi erent Miao ethnic branches， for the NationalArt Museum of China.

When Yang took over this cra smanship fromhis father at a young age， he could have never imaginedthat this humble household art would oneday be recognized as part of the national intangiblecultural heritage.

The art of cra ing silver jewelry in Kongbai Villagehas a rich history spanning over four centuries.Perhaps it is due to the serene and secluded natureof the mountainous region that these silver adornments，which emit a delicate tinkling sound withevery movement， have been passed down alongsidethe melodious Lusheng （a traditional Chinese musicalinstrument） and ancient Miao folk songs.

This technique is intricate. The meticulouslyhand-made silver jewelry boasts unique patternsand exceptional durability that machines cannotreplicate. However， the meager income generatedfrom this artistry makes it hard to sustain. As aresult， over time， most village residents left theirhometown for developed coastal regions， trying tomake ends meet.

In 2006， Leishan Miao silver jewelry waso cially recognized as one of the rst nationallevelintangible cultural heritages. YangGuangbin， as an open-minded inheritor of thistreasured tradition， spared no e ort to recruitand train young apprentices and impart hisvaluable techniques to the next generation.

Due to the ourishing tourism industry inGuizhou， the enchanting Xijiang Qianhu MiaoVillage has emerged as a popular tourist destination.Consequently， Kongbai Village， nestledin the nearby mountains， has also found itsplace in travel journals and guides. This developmenthas prompted many Miao silversmithsto return to their hometown and establish theirown businesses. Nowadays， it is a commonsight to nd a silver artisan and a workshop in?almost every household in Kongbai Village.

As the tradition continues to thrive， KongbaiVillage has resumed its vibrancy. The younggeneration is embracing this craftsmanshiponce again and passing down their passion forthis cultural heritage.

Taijiang Miao Embroidery： Wordless Book Telling A Timeless Tale

While the Miao silver jewelry， crafted by skilledartisans， has a poetic beauty， the Miao embroidery tellsa timeless tale.

The Miao people worship nature. The prevalentpatterns in Miao embroidery， including butterflies，birds， fish， flowers and plants， and dragons， reflecttheir primitive yet genuine， positive outlook on life.Almost all Miao women know how to embroider. They don’t need pencils and sketches. Drawing inspirationsfrom the needlework techniques passed down by theirgrandmothers and mothers， as well as their ethnicpride， historical knowledge， and intuitive perceptionsof nature， they bring to life breathtaking pieces of Miaoembroidery.

Pan Yuzhen， from Taijiang County， is a wellknownembroidery artisan and an internet celebrityin her late seventies. In December 2018， she madea stunning appearance on the runway at St. James’sPalace in London， showcasing her meticulously cra edtraditional Miao attire. The timeless charm of the Miaoethnic group captivated everyone at the scene.

Over the years， Pan has brought Miao embroideryto over ten countries. And each time， she returns withorders worth hundreds of thousands and even millionsof US dollars.

Zhang Yanmei， Pan’s seconddaughter， is also a well-knownlocal embroiderer. Together withher younger sister， she founded theTaijiang Yangli Miao EmbroideryWorkshop. Through innovationand the production of ethnic handicrafts，they have not only fulfilledtheir childhood dreams but havealso contributed to increasing theincome of impoverished villagers.Today， their embroidery productsare sold to countries like the US，Japan， and France.

The Miao embroidery from the remotemountains is now embraced worldwide as afashionable item， with its patterns commonlyfound in trendy clothing designs， cultural andcreative products， and tourist souvenirs. This once little-known craftsmanship has gainedpopularity among the general public， leadingto increased market demand. As a result，more embroiderers and workshops are showcasingtheir work on larger， modern stages，and numerous local enterprises and Miaoembroidery brands are proudly reaching outto wider， international audiences.

Danzhai Batik Dyeing： The “Number One Dyeing of the East”

Also gaining international attention is the Miaobatik dyeing from Danzhai County. In February 2020，a collection of 36 sets of wax-dyed costumes designedand produced by Ninghang Batik from DanzhaiCounty made a remarkable debut at the LondonFashion Week in a dedicated show， astonishing theaudience.

Miao batik dyeing is created by using a wax knifeto apply the melted wax onto the fabrics， dyeing it withindigo， and boiling the fabric in hot water a erward toremove the wax. As a result， blue and white cloths withvarious patterns are produced. The wax， which actsas a resist agent， naturally cracks during the process，resulting in unique “ice patterns” on the fabrics. This cra smanship can be traced back to the Tang Dynasty（618—690） and is known as the “Number One Dyeingof the East”. Di erent from the bold， vibrant colors ofMiao embroidery， the blue and white owery patternsappear to be more gentle and reserved.

Danzhai Miao batik dyeing was included in the rst batch of national-level intangible cultural heritagesin 2006. Miao women in Danzhai begin learning thistechnique from childhood and become pro cient in allaspects， such as cultivating the indigo plants， spinningthe yarn， designing the patterns， as well as dyeing andtailoring the fabrics. They pass down this craftsmanshipfrom one generation to another. For Miao women，batik dyeing is not only a part of their daily lives butalso the best way to observe the world and expressthemselves.

Ning Manli， originally from Anhui Province， firstlearned about Danzhai batik dyeing in Kaili City， locatedin southeastern Guizhou Province. Fully aware of thecommercial value of this treasure from the deep mountains，she traveled around and persuaded several localfemale dyers to join her in establishing Ninghang Batik.

In May 2016， professionals from the ChineseNational Museum of Ethnology visited southeasternGuizhou for eld research and were astounded by BaiMiao Tu. They immediately decided to include thisartwork in the museum’s collection and organize adedicated exhibition for the dyers. After this turningpoint， Ninghang Batik established a strong footing inthe market， and several universities invited the dyersto deliver lectures as part of their art programs.

Ninghang Batik has brought great momentum toDanzhai County. Currently， there are over 20 sizablebatik dyeing companies， with an annual output exceeding20 million RMB. Batik dyeing has not onlyincreased the income of over 700 female dyers buthas also become a thriving industry with unique local?characteristics， exerting a positive impact on local development.

And it is more than batik dyeing. Danzhai is renownedfor being home to another six in the nationallevelintangible cultural heritage. Today， more than 75%of the over 200 shops in Wanda Town of Danzhou specializein businesses related to intangible cultural heritage.The “intangible cultural heritage + tourism” modelhas emerged as a vital driver in promoting the tourismindustry in Danzhai. Tourists now ock to the regionlooking for an immersive experience of the vibrant andcolorful ethnic lifestyle， as well as the rich intangiblecultural heritage. Consequently， Wanda Town has becomea captivating destination， attracting tourists fromaround the world while preserving and passing on thevibrant cultural traditions of Guizhou.