Miao tin embroidery is mainly distributed in the villages of Liufu, Zhongfu, Zhanliu, Bailu, Raohao, Shangxiabaidu, Zhanlai and Fanshou in Nanzhai Township along the Qingshui River in Jianhe County, Guizhou Province, Gaoqiu, Pingniao, Pingjiao, Xiaogaoqiu, Shangxiabaidou, Guitao, Guinu, Heping, Zhanggou, Ganda in Mindong Township and Baidan in Guanmo Township. Basic content 1. Process of tin embroidery Use scissors to cut a thin tin wire strip about 18 cm long and 1 mm wide from the tin sheet, straighten the thin tin wire strip, make a small hook on one end, and cut the other end into a needle shape. At the same time, spread the prepared cloth pad on the cotton cloth with embroidery patterns, pick out a cotton thread of the pattern with a needle, and then use a needle-shaped thin tin wire strip to pass through the picked cotton thread, and tightly buckle the thin tin wire strip with a small hook on the cotton thread, cut the thin tin wire strip with scissors, and buckle the remaining thin tin wire strip on the cotton thread, so as to complete a buckling process, and then repeat it according to the pattern on the cotton cloth, and the tin embroidery products you see are formed. 2. Tin embroidery products Tin embroidery products are divided into three types: front skirt piece, back skirt piece, and back drape, which are mainly used in the decoration of local Miao costumes. The front skirt piece is called "Qingheidong" in Miao language. The skirt piece is about 44 cm long and 17 cm wide. The pattern embroidered with tin is about 27 cm long and 14 cm wide. The pattern of the front skirt can be divided into 9 units. From bottom to top, the first unit pattern is in the shape of "X", which is an abstract flower, implying mountains and valleys, representing the rolling mountains and crisscrossing gullies; the second unit pattern is in the shape of "和", which is an abstract ox saddle, called ox saddle flower, which represents the working tools of the local people. Oxen occupy an important position in the minds of the Miao people. They are the items used by the Miao people to worship their ancestors, the symbol of strength, and also the working tools that people rely on for survival. Embroidering the ox saddle on it implies the Miao people's reverence for oxen; the third unit pattern is in the shape of "", which represents an abstract physical scale hook, implying that people can have abundant goods like merchants. The scale can weigh the weight of objects, and hopes for a fair and just social environment, expressing the Miao people's good life wishes; the fourth unit pattern is in the shape of a small human head, which means a child living in the house; the fifth unit is the core area of the skirt piece, with patterns such as "", "", etc., which are rake patterns, implying diligence and harvest, Wenhua and ruler patterns. The most commonly used and most typical pattern is the ruler pattern. The Miao people build houses with wood. They bring triangular wooden rulers when they go up the mountain to cut wood and work. It is the most commonly used tool. The convex edge is called the roof beam, which means the house where the Miao people live, and the triangle on the edge means the undulating mountains and gullies. The patterns of the sixth, seventh, eighth and ninth units are opposite to those of the fourth, third, second and first units. The Miao language for the back skirt piece is "qingheier". The skirt piece is about 46 cm long and 19 cm wide. The pattern embroidered with tin is about 30 cm long and 15 cm wide. The first unit pattern is a cow saddle flower, and the second unit is a " " shape, which is an adult head pattern, implying young and middle-aged people and the elderly living in the house. The biggest difference between the front and back skirt pieces is that the front skirt piece has no purple dark flowers, while the back skirt piece has dark purple small square dark flowers dotted with silk thread between the tin embroidery. At the same time, the proportion of the scale pattern on the front skirt piece is larger than that on the back skirt piece. The back drape is "Sheng Ou" in Miao language. The pattern is about 20 cm long and 17 cm wide. The main pattern is roughly the same as the front and back skirt pieces. There are dark purple small square dark flowers dotted with silk thread between the tin embroidery. At the same time, there is a row of tin wires wrapped in 10 cm tin bars in three sections, called dripping lines, which represent the dripping of the eaves. The front and back skirt drapes of Miao tin embroidery products are not only different in pattern, but also in process. The front skirt is made by first embroidering the pattern with black cotton thread on the undyed white cotton cloth, then slurrying it with dye, and finally picking out the cotton thread on the pattern, and then wrapping it with small tin sheets and edging it; the fabrics used for the back skirt and back are woven with pre-dyed colored cotton threads (dark tones) according to certain patterns. The embroidery of the background pattern is divided into two processes. First, embroider the traditional pattern with monochrome cotton thread, and then use colored silk thread (dark) to embroider other floral decorations in the gaps of the pattern. After the tin sheet is wrapped along the monochrome pattern, the effect is that the colored dark flowers embroidered with silk thread can be seen in the gaps of the tin pattern. Related utensils and products 1. Tin sheet: Tin sheet is the most important embroidery material for tin rust. It is as thin as the copy paper we use now. A piece of tin sheet is about 20 cm long and 10 cm wide. 2. Pad: Pad is one of the tools for making tin rust. It has a 1 cm opening in the middle. Spreading it on the embroidery cloth can prevent sweat from dripping on the embroidery cloth. 3. Scissors and embroidery needles: Scissors are used to cut tin strips, and embroidery needles are used to pick up silk threads. Inheritance pedigree Tin embroidery is used to measure a girl's growth, behavior, intelligence and virtue. They have to learn embroidery since childhood. Whenever there is no farming, you will see groups of Miao girls gathering together to learn embroidery. Tin embroidery is taught by hand from generation to generation. The elders of each person are masters. When the daughter gets married, the mother will give a set of embroidered patterns (embroidered with silk thread but wrapped with tin) to her daughter, so that she can inherit the tradition of tin embroidery. The inheritor is the next generation. Basic features: With - colored cotton fabric as the carrier, cotton yarn is first used to thread and pick flowers on the fabric according to the traditional pattern, then metal tin silk strips are used to embroider the pattern, and then black, red, blue and green silk threads are used to embroider colorful flowers in the gaps of the pattern. The silvery white tin silk is embroidered on the black fabric, with a clear contrast, bright glitter, good gloss, and strong texture, which looks like silver clothes. It matches with silver hats, silver earrings, silver collars, silver chains, and silver bracelets, which is extremely gorgeous and noble. The tin rust products have unique craftsmanship, fine handwork, clear patterns, complex workmanship, and special materials, and have extremely high appreciation and collection value. The difference between Miao tin rust and other ethnic embroidery crafts is that it is embroidered with metal tin wire strips on the black cotton cloth peach blossom pattern. At present, this kind of embroidery has not been found in the Miao or other ethnic groups in other regions. Main value Miao tin rust is the creation of the ingenuity and wisdom of the Miao people in Nanzhai, Mindong, Guanmo and other areas on both sides of the Qingshui River in Jianhe County, Guizhou Province. It is an important symbol and feature of this branch of the ethnic group and a wonderful flower in the garden of ethnic folk arts and crafts. 1. Uniqueness of materials Miao tin embroidery is very special in its materials. It uses metal tin as the main material, which is very special compared with other Miao and other ethnic groups who use cicada silk thread as embroidery material. It has changed people's traditional embroidery material concept and formed a unique embroidery. It has a special status and craft value in the materials of cross-stitch embroidery in China and even in the world. 2. Mystery of patterns Although tin embroidery is limited by the material, the pattern cannot be very rich, but its abstract, simple and regular pattern reflects the straightforward character of the Miao people, especially its core pattern is like a maze, unpredictable, intriguing, profound, full of strong mystery, and rich cultural connotations. It is an important object for studying the social, economic, cultural and historical of the Miao people and deserves our further in-depth study. This is the charm and aesthetic value of tin embroidery. In recent years, tin embroidery has attracted the attention of relevant units, experts and scholars at home and abroad. The National Art Museum of China has a collection of tin embroidery products. After Ms. Xia Lisi, the winner of the British Royal Art Award in 1997, led a delegation to visit Liufu Village, the core area of tin embroidery, every year friends from the United States, France, Japan, the Netherlands and other countries come to inspect and collect tin embroidery products. Endangered status 1. Miao tin embroidery is mainly distributed in Liufu, Zhongfu, Zhanliu, Bailu, Raohao, Shangxiabaidu, Zhanlai, Fanshou in Nanzhai Township, Jianhe County, Guizhou Province, Gaoqiu, Pingniao, Pingjiao, Xiaogaoqiu, Shangxiabaidou, Guitao, Guinu, Heping, Zhanggou, Ganda and Baidan in Guanmo Township in Mindong Township. They are relatively poor areas in the county. Due to the backward economy, the development of tin embroidery is restricted. 2. As the number of local women working outside the home increases year by year, the number of main embroidery creators is decreasing year by year. Now young women are working outside the home, and most of those left at home are older women. The inheritance of tin embroidery is in serious crisis. 3. As people's life concepts change, the number of people wearing tin embroidery clothing is decreasing. Young women in some villages are reluctant to wear tin embroidery clothing. Even during the New Year and other festivals, there are only a few people wearing tin embroidery clothing. 4. In addition to the crisis of skill inheritance, the cultural significance of the patterns has been gradually forgotten and lost, and young people are no longer willing to understand the cultural content and meaning of the patterns. (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)