From June 13 to 19, 2026, the 14th Xinjiang Intangible Cultural Heritage Week took place in Hami (哈密), and two of Chongqing’s signature heritage crafts — Shu embroidery (蜀绣) and Dianjiang horn carving (垫江角雕) — made their Xinjiang debut as invited exhibitors. Organized by the Chongqing Intangible Cultural Heritage Protection Center under the city’s Culture and Tourism Commission, the cross-regional exchange was framed as a cultural-aid initiative, deepening the ties between southwestern China’s Ba-Yu traditions and the multi-ethnic communities of Xinjiang.
Shu Embroidery: One of China’s Four Great Embroideries
Shu embroidery, designated a national-level intangible cultural heritage in 2006, originated in the Chengdu region of Sichuan and is celebrated for its 12 major stitch categories encompassing 122 distinct techniques. Its signature “yunzhen” (晕针, gradient stitch) creates a watercolor-wash visual effect — colors blend seamlessly across the silk surface, mimicking the subtle tonal transitions of traditional Chinese ink painting. At the Hami exhibition, Shu embroidery works ranged from classic floral and fauna motifs — “Hibiscus and Koi” and “Panda Among Bamboo” — to contemporary pieces incorporating Chongqing landmarks such as the Yangtze River Three Gorges, Hongya Cave, and Chaotianmen Pier. A series based on the historic “Twelve Views of Ba-Yu” (巴渝十二景) drew the largest crowds, with embroiderers using hair-thin silk threads to render Dazu Rock Carvings and Ciqikou Old Town in meticulous detail.
Dianjiang Horn Carving: Hairpins and Beyond
Dianjiang horn carving is a Chongqing municipal-level ICH craft that transforms locally sourced ox horn through over ten processes — material selection, soaking, slicing, shaping, carving, and polishing — into hairpins (发簪), buyao hair ornaments (步摇), figurines, and jewelry. Artisans employ incised carving, relief carving, openwork, and cameo techniques on horn surfaces no larger than a palm, producing warm-toned, finely textured pieces. At the Hami event, Dianjiang horn carving inheritors demonstrated live carving while visitors watched and purchased pieces on the spot. The hairpin items — directly relevant to hanfu styling — attracted particular interest from attendees who pair traditional accessories with their daily guofeng outfits.
The event also included an ICH shopping festival, live craft demonstrations, and youth heritage-experience workshops. At the Shu embroidery station, embroiderers demonstrated stitches and invited visitors to try basic needlework; at the horn-carving station, children learned to carve simple pendants from horn slices under the guidance of master artisans. The “observe, buy, experience” format turned passive appreciation into active participation.
According to the Chongqing ICH Protection Center, the city will continue its cultural-aid program in Xinjiang, sending more Ba-Yu heritage crafts on tour and inviting Xinjiang ICH inheritors to Chongqing for reciprocal exchanges. The initiative positions intangible heritage as both a cultural and diplomatic tool — “culture nourishes silently, carrying deep affection across a thousand miles,” as the event’s official report concluded.