Which kind of batik technology in Anshun embodies the ancestors' awareness of nature worship and Teng worship?

Anshun batik is mainly divided into Miao batik and Buyi batik. The former pattern includes ancient legends and primitive cognition, which reflects the ancient ancestors' awareness of nature worship and totem worship.

Anshun batik technique belongs to one of the traditional handicrafts in China, which was inherited from the Ming Dynasty and formed after hundreds of years of precipitation and development. From the technique itself, Anshun batik is mainly completed by candle wax painting, hand painting, dyeing and other processes, and each process needs manual operation, so the technique is quite exquisite and complicated.

From the perspective of cultural inheritance and historical evolution, Anshun batik technology embodies the ancestors' worship of nature and totem. In mountainous Miao areas, this kind of handicraft is regarded as a sacred and important ceremonial article, which can decorate people's clothes and houses and has been circulating for a long time.

According to legend, ancient Miao priests and tribal elders first used batik technology to make clothes by hand. At first, they mainly expressed reverence for ancestors and nature, and later evolved into a unique way of life and a part of traditional culture, reflecting the beliefs and attitudes of local residents towards the natural environment and the protection and maintenance of ecological civilization.

Therefore, Anshun batik technique can be said to be a typical handicraft integrating culture, art and tradition, which embodies the worship of Chinese ancestors to nature and totem, and inherits and promotes China's profound cultural heritage and ecological civilization.

Anshun batik craft inherited and developed the worship and belief culture of the ancient Miao nationality in the process of manual production. Among them, patterns and dyeing reflect the worship consciousness of nature and totem.

The patterns drawn by Anshun batik technique are often based on local natural elements such as trees, animals and landscapes. For example, Cangsong, Fengling and Liushuidu have become the totems and spiritual symbols of the local Miao people, and are portrayed on wax paper.

At the same time, in the dyeing process, the fabric is coated with wax to form anti-dyeing raw materials, which are then distributed into dyes. After repeated waxing, exposure, waxing and dewaxing, bright patterns and colors are finally formed.

This special hand-made form makes Anshun batik art become an irreplaceable humanistic art and cultural heritage, which is full of exotic atmosphere and China traditional culture, and it is a microcosm of China's colorful culture.