Jianhe County is located in the southeast of Guizhou Province and the central part of Qiandongnan Prefecture, 40 kilometers away from Kaili City, the prefecture capital. It is a county inhabited by ethnic minorities with nine mountains and half water divided into fields. Among them, the ethnic minorities, mainly Miao and Dong, account for 98.5% of the total population. Jianhe County is connected to Tianzhu and Jinping counties in the east, Liping and Rongjiang counties in the south, Leishan and Taijiang counties in the west, and Zhenyuan, Shibing and Sansui counties in the north. The beautiful Qingshui River runs through the county, and water and land transportation are convenient. The rivers in the county belong to the Yangtze River system, with 334 large and small rivers such as Qingshui River, Wumi River, and Bagua River, with a total length of 910 kilometers. The territory belongs to the mid-subtropical hot and humid monsoon climate zone, with obvious seasons and water and heat in the same season. Jianhe Miao costumes are mainly distributed in 266 Miao villages in ten towns and townships in the county, including Liuchuan, Gedong, Censong Jiuyang, Nanshao, Taiyong, Guanmo, Mindong, Nanzhai, and Nanjia Town, as well as the marginal Miao areas of neighboring counties. According to the oral history of Miao migration circulated in Jianhe Miao area and the genealogy of Miao son-father-ancestor joint names, the Miao people have settled in Jianhe for more than a thousand years. Jianhe Miao costumes are distributed throughout the ten towns of the county. Due to the different traditional marriage scopes of Miao people in different places, different clothing cultural circles have been formed. The types of Jianhe Miao costumes are generally divided into 12 major types, including Jiugan style, Gaopang style, Jiuyang style, Wenquan style, Baidao style, Liuli style, Liufu style, Wumen style, Nanmeng style, Xinmin style, Fangwu style, and Wuhe style, with nearly 100 styles. For example, Jiugan style: headdress, women tie a bun in the center of the top of the head, wrap the root of the bun with a bright cloth scarf, and then wrap the outer scarf in a rectangular shape, fold it diagonally and wrap it around the forehead to tie it. The corner of the scarf is tied with a silver bead, and there is a short bead of five-color velvet sewn under the bead. But the bun is still exposed outside the corner of the scarf, and a silver comb (festival) or a wooden comb (usually) can be inserted diagonally from back to front. Around the hair bun, there are silver ornaments such as phoenixes, flowers and plants, and silver ties. Under the ties, there are various silver bells or silver colorful butterflies, which are connected with spiral silver wire. Earrings are exclusive to women, including palace lantern rings, butterfly rings, leaf rings, etc., all made of silver. Necklaces are made of silver. Men wear lock silver chains. Women wear eight-shaped and four-ring necklaces. Necklaces have bubble, three-strand fine lines, hexagonal, solid garden columns and other styles. Under the neck and chest, there is also a waist-shaped lock-type collar, which is carved with various patterns. Hand ornaments include hollow openwork, solid carved, leek leaf-shaped diamond flowers, spider silk, dragon head and body, and two-strand or three-strand fine silk bracelets. Women's clothing is made of self-produced bright cloth. Since the founding of the People's Republic of China, it has changed to buying yarn and weaving and dyeing. There is no embroidery on the clothes and skirts. The clothes have no collars, open right-fronted large lapels, and nailed 3 to 4 cloth buttons. The better ones use silver or copper buttons. Wear pleated skirts with up to 700 or 800 pleats. During winter festivals, more than 10 pleats are worn at a time, so that the outer pleats shrink upward and open outward, like a small umbrella. The belts are yellow, red, blue, ochre, black and other colors, and are woven with 5-color silk threads into various patterns. They can be wrapped around the waist for more than 3 weeks. The belt has tassels at the head and is tied behind the waist. The waist is made of 4 pieces of bright cloth of different sizes, embroidered with various patterns. The legs are divided into leg wraps and leg bands (also known as foot wraps), which are woven with self-spun and self-woven colored cotton yarn, and are woven with various patterns and patterns, including wave style, square box style, flower tree style, etc. Wrap from the ankle to below the knee. The foot wraps are also woven with various patterns, such as five-step snake pattern. Miao girls have been learning embroidery, spinning, weaving, indigo dyeing and other clothing making handicrafts from their mothers since childhood. The production and inheritance of Jianhe Miao costumes are mainly passed down from mother to daughter, from family to family, and from neighbor to neighbor in a natural economy. The embroidery techniques of Jianhe Miao costumes are diverse. The main needlework techniques include flat embroidery, brocade embroidery, broken thread embroidery, braid embroidery, coil embroidery, crepe embroidery, lock embroidery, entanglement embroidery, twist embroidery, pile embroidery, scissor embroidery, yarn embroidery, tin embroidery, pasting embroidery, cross-stitching, brocade, etc. There are more than 20 kinds of patterns, including flying animals, walking animals, swimming animals, people, plants, buildings, mountains, rivers, clouds, sun, moon, stars, etc. The patterns mainly express plant images that symbolize youth, love, wisdom, and wealth, and animal images that metaphorically represent health, longevity, bravery, and majesty, as well as architectural and shaman themes. Miao costumes are closely related to the living environment, economic conditions, historical culture and aesthetics of the Miao people. From the vivid artistic images on the costumes, we can see the material living conditions of the Miao people in a specific historical period, and also experience the diverse mentality and pursuits of the Miao ancestors, with a distinct national style. The pattern layout of Jianhe Miao costumes is peculiar, the composition is full and rigorous, and the artistic images are clearly prioritized. In the layout, various animals, flowers and fruits are often placed in the same space, and have a wide range of adaptability. Dragons, phoenixes, birds and other animals and some flowers and plants are the most commonly used basic themes for Miao costume embroidery art. In terms of layout, dragons and phoenixes or main animals are usually placed in the most conspicuous place in the picture, and the four seasons of flowers and fruits, various animals or characters, and even images of gods and witches are interspersed in the gaps around them as embellishments. The composition is full and rigorous, and the artistic images are clearly prioritized. Geometric decorations with the theme of "rice grid" and "ten thousand grid" patterns are often seen in the "back" format layout or repeated continuous format arrangement. The main image is in the middle and the foil image is located around, which is unfolded layer by layer, ingenious, and intimate. At the same time, the Miao costumes in Jianhe attach great importance to the use of colors in embroidery, and like to use dazzling high-purity colors to exaggerate the arrangement and contrast for embroidery decoration. Red, orange, yellow, green, blue, and purple are generally regarded as the best main colors by women, and pink, gold, silver, ochre, black, and white are auxiliary colors. The main and auxiliary colors in embroidery are used just right. The rich main color and the light gray auxiliary are both used to deal with the relationship between the color area and the image by the interval color technique, while maintaining the strong contrast and exaggeration effect of the picture, it also makes it relatively balanced and coordinated. At the same time, they are good at using the color arrangement of the same color gradient, subtle color changes, and the use of gray tones. Miao clothing is the creation of wisdom and the crystallization of civilization of the Miao people in the long-term historical development process. It is a witness to the historical development of the Miao people, an important form of expression of the Miao traditional culture, an important carrier of the Miao cultural heritage, and a cultural symbol and mark for identifying the identity of each branch of the Miao people. It plays a positive role in promoting the identity of the Miao culture, enhancing the cohesion of the Miao people, and enhancing the unity among the Miao people and the social stability of the Miao community. It has become an important link for the cultural exchange of the Miao people and is of great significance to maintaining the cultural heritage of the Miao people. With the development of the times and the changes in society, the number of local women working outside the home has increased year by year, and the number of Miao clothing production and embroidery creation groups is decreasing year by year. The cultural meaning of the patterns and patterns has begun to be gradually forgotten and lost by the people in this Miao area. At the same time, the number of people wearing them is decreasing. Now young women are working outside the home, and most of those who stay at home are older women. The inheritance of Miao clothing production and embroidery creation has encountered a serious crisis. (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)