为千年纹样建“基因库” 创建AI平台搬进课堂
Building a “Gene Bank” for Millennia-Old Motifs and Bringing AI into the Classroom
他的坚持让荆楚非遗有了“数字身份证”
His Dedication Gives Jingchu Intangible Heritage a “Digital ID”
楚天都市报极目新闻记者 张渊 通讯员 丁炜刚 张璐
翻译：徐鸿 肖沐函 熊紫瑞（湖北大学）
Jimu News reporter: Zhang Yuan; correspondents: Ding Weigang and Zhang Lu
Translators: Xu Hong, Xiao Muhan, and Xiong Zirui (Hubei University)
今年6月，武昌首义学院艺术设计学院教授肖巍带着一群本科生，将曾侯乙墓青铜器上的蟠螭纹、楚式漆器上的凤鸟纹、千年织锦上的缠枝纹，一一拆解、编号、矢量化。他们从事的这一项工作，让这些散落于历史深处的荆楚密码，逐步拥有专属的“数字身份证”。
In June, Xiao Wei, a professor at the School of Art and Design at Wuchang Shouyi College, led a group of undergraduates in digitalizing traditional motifs: coiled chi-dragon patterns on bronzeware from the Tomb of Marquis Yi of Zeng, phoenix motifs on Chu-style lacquerware, and scrolling floral patterns on millennia-old brocades. Their work is gradually giving these Jingchu “cultural codes”, scattered through the depths of history, digital identities of their own.
“我无法替学生走完所有的路，但可以在他们出发前，为他们点亮一盏灯。”肖巍说，从教18年，自己从未忘记过初心。
“I cannot walk every step of the journey for my students, but I can light a lamp for them before they set out,” Xiao said. After 18 years in the classroom, he said he has never lost sight of why he became a teacher.
肖巍（右二）带着学生走访盔头制作技艺传承人 通讯员供图 Xiao Wei (second from right) and his students visit a practitioner of the traditional kuitou, or Chinese opera headpiece, craft. Photo provided by the correspondent.
给荆楚非遗办“身份证”
Giving Jingchu Intangible Heritage a “Digital ID”
肖巍1982年出生，今年44岁，籍贯湖北天门，目前是武昌首义学院艺术设计学院副院长、教授。
Born in 1982 in Tianmen, Hubei Province, Xiao, 44, is now vice dean and a professor at the School of Art and Design at Wuchang Shouyi College.
2025年他参加一项培训，得知荆楚文化一些纹样正面临传承危机。回校后，他带着学生干了两件事：建荆楚纹样数据库，搭“楚镜AI”共创平台。前者为千年纹样建立“数字档案”，经矢量化转译、拆解重组，变成设计师可随时调用的创意素材；后者依托数据库，让用户直接进行纹样再创作。
During a training program in 2025, Xiao learned that some traditional Jingchu motifs were at risk as their transmission faltered. Back on campus, he and his students set out to do two things: build a Jingchu motif database and develop the “Chu Mirror AI” co-creation platform. The database creates digital archives of millennia-old motifs. Once vectorized, deconstructed and recombined, the motifs become creative assets that designers can readily use. The AI platform draws on the database, allowing users to reinterpret and redesign the motifs.
从博物馆拍摄文物纹样，到用AI软件勾勒矢量图形，再到整理文化档案……每个环节他都带着学生仔细做。初期最难——设计卡壳、经费见底，平台开发成本四千多元，肖巍自掏腰包垫了这笔钱，又翻出下乡采风的文物素材，一张张拆解纹样背后的寓意，为每一款荆楚纹样办理清晰的“数字身份证”。
The work ranged from photographing motifs on museum artifacts and turning them into vector graphics with AI software to compiling cultural records. Xiao guided his students through every step. The early stage was the hardest: designs stalled and funding ran out. Developing the platform cost more than 4,000 yuan, which Xiao paid out of pocket. He also revisited materials gathered during field trips to rural areas, documenting the symbolism behind each motif one by one and creating a clear “digital ID” for every Jingchu design.
后来，肖巍把“楚镜AI”平台搬进课堂。学生反馈：“其他AI只是工具，楚镜AI懂荆楚。”“这既是一份可检索、可溯源的文化身份证。”肖巍说，“也是一个可再创作的基因库，让每个纹样都能找到它的过去，也看见它的未来。”
Xiao later brought “Chu Mirror AI” into the classroom. “Other AI systems are just tools; Chu Mirror AI understands Jingchu culture,” one student said. “It is both a searchable, traceable cultural ID,” Xiao said, “and a gene bank for creative reuse, so every motif can trace its past and envision its future.”
在第一现场出真产品
From Fieldwork to Market-Ready Products
“不到第一现场，你永远不知道真正的需求是什么。”这是肖巍常挂在嘴边的话。在他的倡导下，“行走非遗课堂”成了艺术设计学院的必修课。在他眼中，第一现场是恩施深山里的土家村寨、黄石古村的非遗工坊、枣阳田间地头的粗布作坊——是书本和屏幕无法呈现的真实世界。
“Unless you go into the field, you will never know what people really need,” Xiao often tells his students. At his initiative, the “Field-Based Intangible Heritage Classroom” has become a required course at the School of Art and Design. For Xiao, “the field” means the real world that books and screens cannot capture—Tujia villages deep in the mountains of Enshi, intangible heritage workshops in old villages in Huangshi, and homespun-cloth workshops amid the fields of Zaoyang.
在恩施，团队创作了“黄四姐牵手刘三姐”非遗IP形象，以傩戏为灵感开发傩面扑克牌及饰品系列，围绕西兰卡普设计手机壳、披肩等衍生品——产品被当地景区采购运营。在黄石古村桃乡，“楚纹”潮玩魔方、丝瓜络灯具、掐丝珐琅等几十件学生的文创一露面便引来游客争相购买。在枣阳，团队启动“一朵小棉花”联农助农项目，学生将荆楚纹样融入粗布设计，创作出婚庆家纺、服饰等系列产品，设计作品亮相“贵州村T”，斩获“互联网+”金奖、“挑战杯”一等奖。
In Enshi, the team created an intangible heritage IP design called “Huang Sijie Joins Hands with Liu Sanjie.” Inspired by Nuo opera, they developed playing cards featuring Nuo masks and a matching line of accessories. They also designed phone cases, shawls and other products around Xilankapu, traditional Tujia brocade. Local scenic areas purchased the products for sale. In Taoxiang, an old village in Huangshi, dozens of student-made cultural products, including Chu-pattern Rubik’s cubes, loofah-fiber lamps and cloisonne pieces, were an instant hit with tourists as soon as they went on display. In Zaoyang, the team launched the “Little Cotton” farmer-support initiative. Students incorporated Jingchu motifs into homespun cloth, creating wedding textiles, apparel and other products. Their designs were showcased at Guizhou’s “Village T” fashion event and won a gold award in the “Internet Plus” competition and first prize in the “Challenge Cup”.
为什么执着于走出去？肖巍的答案很坚定：“书本上的纹样是扁平的。只有走到土家村寨、织染作坊，学生才能亲眼看到图案如何从匠人手中诞生，触摸到材料的质感。”
Why is he so committed to getting students out into the field? Xiao’s answer is clear, “Patterns on a page are flat. Only by going to Tujia villages and weaving and dyeing workshops can students see with their own eyes how patterns take shape in artisans’ hands and feel the texture of the materials.”
三年打磨一顶凤冠霞帔
Three Years to Perfect a Phoenix Coronet and Ceremonial Cape
在学生眼中，肖巍不仅教学有法，更是温厚发光、能照亮信心的“肖导”。
To his students, Xiao is more than an effective teacher. Warm and encouraging, he is someone who gives them confidence, and they affectionately call him “Mentor Xiao”.
他带过一个做了三年的凤冠霞帔项目。传统戏曲凤冠用黄板纸制作，学生团队改用铁丝做骨架、铝片做框架，以掐丝工艺替代传统技法，并将荆楚纹样融入冠面设计。项目一做三年，学生换了好几拨，工艺也从传统制作延伸至数字化交互。三年间，每一届新生加入时，老生都把从田野带回来的故事和手稿郑重交给下一届。
Xiao once led a phoenix coronet and ceremonial cape project that ran for three years. Traditional opera phoenix coronets are made from yellow cardboard, but his student team reworked the process, using iron wire for the inner skeleton and aluminum sheet for the frame, replacing traditional techniques with wire filigree, and incorporating Jingchu motifs into the crown. The project continued across several student cohorts, while the craft expanded from traditional handwork to digital interaction. Each time a new group joined, senior students carefully passed on their fieldwork stories and notes to the next cohort.
学生杨馨怡主攻掐丝工艺。没有手工基础，光是掐丝、拓样就需每天练习四个小时，金属铁丝反复划伤手指。“肖老师从不催进度，总是耐心帮我拆解难点，告诉我非遗传承本身就是一场长期坚守。”凤冠项目最终获得了非遗传承人的高度评价。这位传承人说，自己在很多学校做过校外导师，“只有武昌首义学院‘凤舞华冠’团队的学生把凤冠做了出来。”
Student Yang Xinyi specialized in wire-filigree techniques. With no previous craft experience, she spent four hours a day practicing wire shaping and pattern transfer, often cutting her fingers on the metal wire. “Professor Xiao never pushed me to rush the work. He always patiently broke difficult steps down for me and told me that preserving intangible cultural heritage is itself a long-term commitment,” she said. The project eventually won high praise from an intangible cultural heritage practitioner who had served as an external mentor at many schools. “Only the students on Wuchang Shouyi College’s ‘Phoenix Dancing Crown’ team actually completed the phoenix coronet,” the practitioner said.
肖巍对学生的要求向来严格，“做不好就重做”是他的口头禅，但他解释：“重做不是惩罚，是为了让学生在高标准的反复打磨中，真正理解何为专业。”肖巍还细心呵护青年教师，他常说，“只有老师们进步了，才能更好地培养学生。”
Xiao is demanding of his students. “If it’s not good enough, do it again,” is one of his stock phrases. “Redoing the work is not punishment,” he explained. “It is about helping students understand what professionalism means by refining their work again and again to meet high standards.” Xiao is equally attentive to young faculty members. He often says, “Only when teachers grow can we better educate our students.”
从教18年，肖巍主讲的两门课程分别获批国家级、省级一流本科课程，指导学生获得省级以上学科竞赛奖150余项，申请专利21项。
In 18 years of teaching, two courses taught by Xiao have been designated national-level and provincial-level first-class undergraduate courses, respectively. He has guided students to more than 150 awards in academic competitions at the provincial level or above and has led them in filing 21 patent applications.