Peony, lotus, Ruyi and other unit patterns are overlapped with each other to form new characteristic patterns, which are distributed in the framework of the Bada halo, symbolizing "four directions and smooth roads". This Qing Palace brocade called "Red Earth Ruyi Peony Pattern Tianhua Brocade" has luxurious colors and auspicious meanings, reflecting the cultural characteristics of Chinese civilization's diversity and harmony. On January 22nd, the exhibition "Splendid Jiangnan - The Peak Creation of Traditional Chinese Weaving and Embroidery Crafts" was held at the Nanjing Museum. The exhibition presents the history of Chinese textile technology in the Jiangnan region through three main units: "Weaving, Magic Calculation", "Embroidery, Exquisite Craftsmanship", and "Dyeing, Colorful Colors". Between the latitude and longitude, weaving legends enters Hall 8 of the Nanjing Museum's special exhibition hall, where a painting of the "Weaving Brocade Decree Scroll" from the first year of the Ming Longqing period attracts the attention of reporters. Upon closer inspection, the regular script font is square and adorned with patterns such as cranes and auspicious clouds at the bottom of the scroll. This imperial edict, woven with five colored silk threads, is highly skilled and difficult to forge, serving as a technical anti-counterfeiting measure. The exhibition mainly selects exquisite textile cultural relics and intangible cultural heritage exhibits from the Jiangnan region that have been creative since the Song Dynasty for display. The exhibited embroidery techniques and textile tools cover a wide range of historical periods, from 7000 years ago to the Song, Yuan, Ming, Qing, modern and contemporary times, and have spread from the Jiangnan region to the whole country and even the world Curator and Deputy Research Curator of Nanjing Museum, Zhang Ru, introduced that this is one of the few exhibitions in China with a relatively complete timeline of exhibits, and many of the exhibits are being exhibited to the public for the first time. Jiangnan is good, the machine and bamboo seize the heavenly work. Kong Cui's flower cloud brocade is rotten, the ice silkworm spits out phoenix mist, the silk is empty, and the new small ball dragon looks like a new one This is the cloud brocade in the eyes of Wu Meicun, a poet from the late Ming and early Qing dynasties. There is a large wooden jacquard machine in the exhibition hall, and two weavers are working together to weave. Visitors can observe the "inch by inch gold" Yun brocade weaving process in person. This exhibition also specially produced a 3D animated video of the knowledge map of Yunjin weaving machine weaving, which, together with the 3D video of the restoration of the silk weaving machine provided by the Shanghai Museum, presents the peak of silk weaving technology, the special technique of "warp and weft cutting". In the exhibition hall of "Dialogue between China and the West", there is a small-sized portrait work in the Meimei and Co exhibition hall. From a distance, it seems ordinary, but upon closer inspection, it is breathtaking. The expressions of the characters in the portrait are vivid and lifelike, and the texture of the silk dress is naturally exquisite - this "Embroidered Actress Beke Portrait" was completed by the embroidery master Shen Shou after three years of hard work in the late Qing Dynasty and early Republic of China. In 1920, the work received a lot of attention when it was exhibited in New York, USA, and Beck himself wanted to purchase it for a large sum of money as a souvenir. Zhang Jian politely declined on the grounds that 'this is a national treasure, only for exhibition and not for sale'. There is also a grand and exquisitely crafted tapestry called "Banquet" on display, which was one of the tapestries gifted to Emperor Qianlong by King Louis XV of France. The "Chinese Theme" series tapestries to which it belongs are designed based on the Chinese style and customs paintings created by the art master Fran ç ois Boucher in 1742. They are woven using the silk weaving technique of "passing through the warp and breaking the weft", and were highly favored at that time. Embroidery notation is a summary of the tools, needlework, and aesthetic principles of embroidery techniques. The Snow Embroidered Manual, orally narrated by Shen Shou and compiled by Zhang Jian, is known as the "first modern textbook in the history of Chinese embroidery craftsmanship". Shen Shou integrated Western photography and art themes into traditional Su embroidery techniques, pioneering modern embroidery art education. With the deepening of exchanges between China and the West, China's weaving and embroidery techniques and excellent works have shown the world the profoundness and infinite charm of Chinese silk culture. At the same time, Western art forms and themes have also enriched the subject matter and expression techniques of Chinese weaving and embroidery skills. The civilizations of the East and the West are constantly developing through exchange and mutual learning, each appreciating its own beauty and sharing beauty together. Crafted with ingenuity and creativity, the interactive exhibition hall showcases a dazzling array of clothing, leaving people dazzled. Among them, a green space makeup flower satin colored cloud golden dragon patterned male python costume from the Qianlong period of the Qing Dynasty is woven with gold makeup flower cloud brocade, with craftsmanship comparable to dragon robes, making it the ceiling of costume. Another red satin embroidered palace gown from the Guangxu period of the Qing Dynasty, with brilliant colors and diverse patterns, makes people marvel at the beauty of clothing. This type of palace dress is a formal attire worn by characters such as imperial concubines and princesses in traditional Chinese opera, usually paired with a phoenix crown. The common people also often use it as a substitute for the "phoenix crown and rosy robe" wedding dress. In order to create a youthful state of weaving and embroidery intangible cultural heritage and "bring cultural relics to life", this exhibition innovatively added a "little Easter egg", which will display nearly 40 sets of collector's clothing from 15 popular TV dramas in batches through a combination of static and dynamic methods. They are all original filming materials for actors, with over 90% of them being exhibited publicly for the first time. Among them, the static exhibition's clothing is distributed in multiple public spaces within the Nanjing Museum, with an indefinite exhibition period waiting for the audience to explore and discover. In the original film and television costume exhibition, the audience can also appreciate the costumes of these classic characters up close and intuitively feel the unique charm of weaving and embroidery intangible cultural heritage in modern costume production. It is worth mentioning that this exhibition, with the theme of "Culture unobstructed, integration with love", has designed a fully integrated and accessible exhibition and activity mode. It is the first time in China that a fully integrated and accessible design has been set up in a special exhibition on traditional Chinese culture, allowing both disabled groups and ordinary viewers to experience Chinese traditional weaving and embroidery culture together. For example, it is equipped with a QR code audio sign language guide that can be used by both hearing-impaired and hearing impaired audiences, as well as a high color contrast design for people with color vision disorders, reflecting public welfare, universality, and integration in every aspect. It is reported that the exhibition will continue until April 22nd. (New Society)