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                  <text>2. 织锦 Weaving</text>
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                <text>侗族螺丝衣（套装）The Dong Costume (set)</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------satin-stitch"&gt;刺花 Satin stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------brocade"&gt;织锦 Brocade&lt;/a&gt;，螺旋纹 Whirlpool pattern，龙纹 Dragon pattern，云雷纹 Fret pattern</text>
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                <text>（简）螺丝衣的底色过于深沉，用金色的丝线刺绣，便能将服饰上的图案衬托得更加醒目亮丽。此螺丝衣运用了刺花和织锦。该套服饰由于年代十分久远，金色丝线颜色虽有褪去，但前胸和后背上精美的刺绣图案仍任在告诉人们它曾经的风采。尤其是两条无拘无束的绣龙，仿佛在游弋一般。至于那些螺旋纹则有待考证，有人说是牛头漩，有人说是漩涡纹，有人说是螺丝。我们推测是回纹的一种，成S状围绕。衣服下摆的织锦为素锦，图案也是中国非常古老的几何纹——雷纹的一种。&#13;
&#13;
(ENG) Dong costume: embroidered with golden coloured silk threads on a dark base colour, the sharp contrast of colours adds brightness to the patterns, making it more eye-catching. Satin stitch and brocade are used. Although the colour of the golden thread has faded with time, the exquisite embroidery gives hints of the former glamour of this costume. The two embroidered dragons are elegantly portrayed as soaring unfettered in the sky. While the whirlpool patterns are thought by some to be designed to mimic a bull’s head, others suggest that they are swirls or spirals, but no firm meaning has yet been confirmed. Our guess is that it is a circular letter pattern that forms an ‘S’ shape. The plain brocade on the hem of the dress features a fret pattern, one of the most ancient of Chinese geometric patterns. &#13;
&#13;
（繁）螺絲衣的底色過於深沉，用金色的絲線刺繡，便能將服飾上的圖案襯托得更加醒目亮麗。此螺絲衣運用了刺花和織錦。該套服飾由於年代十分久遠，金色絲線顏色雖有褪去，但前胸和後背上精美的刺繡圖案仍任在告訴人們它曾經的風采。尤其是兩條無拘無束的繡龍，彷彿在游弋一般。至於那些螺旋紋則有待考證，有人說是牛頭漩，有人說是漩渦紋，有人說是螺絲。我們推測是迴紋的一種，成S狀圍繞。衣服下擺的織錦為素錦，圖案也是中國非常古老的幾何紋——雷紋的一種。&#13;
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                <text>侗族 The Dong</text>
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                <text>晚清 Late Qing Dynasty</text>
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                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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                <text>#308</text>
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                <text>贵州黔东南苗族侗族自治州黎平县九潮镇 Guizhou Qiandongnan Miao and Dong Autonomous Prefecture Jiuchao Town </text>
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                  <text>3. 刺绣 Embroidery</text>
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                <text>侗族背扇 The Dong Baby Carrying Belt</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------stem-stitch"&gt;轴绣 Stem stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------knot-stitch"&gt;打籽绣 Knot stitch&lt;/a&gt;，凤凰 Phoenix，龙 Dragon，麒麟，老蛇 Old snake，羊 Sheep，山水 Mountain and lake，太阳 Sun，蝴蝶 Butterfly，鸟 Birds，花 Flowers，房屋 Houses</text>
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                <text>（简）背扇的在深蓝色的边框中绣有大幅红色刺绣，出现了许多的吉祥瑞兽，图案非常热闹，绣出了大自然一派生机盎然的景象。此背扇运用了轴绣和打籽绣。图案中心绣有铜钱和双钩云纹，将动植物上下左右地进行对称分布。另外也运用了不同的色彩和形态进行区分，呈现出了一种对称当中的不对称的视觉感受，构图十分饱满。侗族打籽绣先用丝线先将图案勾绣出轮廓，再用打籽绣技法填充轮廓内部。绣针从背面向正面刺上来后，将针尖在丝线底脚卷上两转，绕成颗粒状小圈，形成一粒籽，周而复始，直到这样的小籽密密麻麻布满整个图案内部，故而得名打籽绣。&#13;
&#13;
(ENG) Dong baby carrying belt: a large piece of red embroidery with dark blue frames. The embroidery pattern vividly portrays a natural scene and is very vibrant with many auspicious beasts. Stem stitch and knot stitch are used. The centre of the pattern is decorated with copper coins and cloud patterns, symmetrically distributing the animals and plants in a vertical, left to right manner. Distinctive colours and shapes create a richly composed asymmetrical yet symmetrical visual experience. For the Dong knot stitch, a silk thread is used to outline the pattern, and then the knot stitch technique is used to fill in the pattern. When making the knot stitch, the needle should be pierced from the back of the fabric to the front, and the tip of the needle looped twice on the bottom of the silk thread to form a small granular circle. This process is repeated until small granular circles densely cover the entire pattern, hence the name ‘knot stitch’. &#13;
&#13;
（繁）背扇的在深藍色的邊框中繡有大幅紅色刺繡，出現了許多的吉祥瑞獸，圖案非常熱鬧，繡出了大自然一派生機盎然的景象。此背扇運用了軸繡和打籽繡。圖案中心繡有銅錢和雙鉤雲紋，將動植物上下左右地進行對稱分佈。另外也運用了不同的色彩和形態進行區分，呈現出了一種對稱當中的不對稱的視覺感受，構圖十分飽滿。侗族打籽繡先用絲線先將圖案勾繡出輪廓，再用打籽繡技法填充輪廓內部。繡針從背面向正面刺上來後，將針尖在絲線底腳卷上兩轉，繞成顆粒狀小圈，形成一粒籽，周而復始，直到這樣的小籽密密麻麻佈滿整個圖案內部，故而得名打籽繡。</text>
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                <text>侗族 The Dong</text>
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                <text>民国 Republic of China</text>
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                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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                <text>贵州黔东南苗族侗族自治州黎平县 Guizhou Qiandongnan Miao and Dong Autonomous Prefecture Liping County </text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------applique"&gt;剪贴绣 Applique&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------satin-stitch"&gt;刺花 Satin stitch&lt;/a&gt;，方圆几何纹组合 Combination of geometric patterns</text>
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                <text>（简）芦笙衣用青色布料制作，底色深沉而庄重。此芦笙衣运用了剪贴绣和刺花。剪贴绣是将布料裁剪出所需的图案花纹，或剪好的布料，拼绣出各种大小均匀的花纹和几何纹，再将其锁边固定或绣订到底布上。芦笙衣由马甲和飘带组合而成，飘带下方一般会坠有动物的羽毛，一般为鸟毛，也有鸡毛或鹅毛。在侗族男人吹奏芦笙时，飘带会随着舞动的节奏有韵律地飘动。无论是刺绣或织锦，马甲和飘带上的色调及图案都讲究一致性，这件芦笙衣运用了红、白、黑三色。该藏品图案工整，做工精细，保存完整，具有极高的欣赏性和代表性。&#13;
&#13;
(ENG) Dong lusheng costume: dark and solemn cyan fabric with appliqué and crossing stitch. Appliqué technique involves cutting out fabric for patterns, stitching the cut fabric together to form different patterns such as geometric patterns of equal size, and then stitching and fixing the fabric onto the base cloth. Lusheng costume is a combination of waistcoat and streamer. There are usually bird feathers (for instance, chicken or goose feathers) at the bottom of the streamers. When Dong men play the lusheng, the streamers move with the same rhythm of the dance. Regardless whether it is embroidery or brocade, emphasis is placed on the consistency of colour and pattern of the vest and streamers. This piece uses red, white and black and is highly representative of the neat and fine workmanship of the Dong.&#13;
&#13;
（繁）蘆笙衣用青色布料製作，底色深沉而莊重。此蘆笙衣運用了剪貼繡和刺花。剪貼繡是將布料裁剪出所需的圖案花紋，或剪好的布料，拼繡出各種大小均勻的花紋和幾何紋，再將其鎖邊固定或繡訂到底布上。蘆笙衣由馬甲和飄帶組合而成，飄帶下方一般會墜有動物的羽毛，一般為鳥毛，也有雞毛或鵝毛。在侗族男人吹奏蘆笙時，飄帶會隨著舞動的節奏有韻律地飄動。無論是刺繡或織錦，馬甲和飄帶上的色調及圖案都講究一致性，這件蘆笙衣運用了紅、白、黑三色。該藏品圖案工整，做工精細，保存完整，具有極高的欣賞性和代表性。</text>
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                <text>贵州黔东南苗族侗族自治州黎平县加鸠乡 Guizhou Qiandongnan Miao and Dong Autonomous Prefecture Liping County Jiagou Village</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------stack-stitch"&gt;叠绣 Stack stitch&lt;/a&gt;，放射状八角星 Octagram pattern</text>
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                <text>（简）芦笙衣整体为深青色，佐以袖子上的橙色拼布，端庄稳重。此芦笙衣运用了叠绣。叠绣，又称堆绣，是将上过浆的轻薄丝绫面料裁剪折叠成细三角形，堆叠于底布之上，边堆边用针线固定，组合成矩形的饰片。芦笙衣由马甲和飘带组合而成，飘带下方一般会坠有动物的羽毛，一般为鸟毛，也有鸡毛或鹅毛。在侗族男人吹奏芦笙时，飘带会随着舞动的节奏，有韵律摇曳飘动。&#13;
&#13;
(ENG) Dong Lusheng coat: dark cyan with orange patchwork on the sleeves. It is a modest and elegant piece. Stack stitch is used. Stack stitch, also known as pile stitch, is made by cutting and folding pieces of glued thin silk fabric onto small triangular shapes. These small pieces are then stacked on top of the base cloth, the sides sewn with needle and thread, and then combined into a rectangular ornament. The lusheng coat is made from a combination of vest and streamer. Under the streamer, bird feathers (for instance, chicken or goose feathers) are often attached. When Dong men play the lusheng, the streamers will sway in time with the rhythm and beat of the dance.  &#13;
&#13;
（繁）蘆笙衣整體為深青色，佐以袖子上的橙色拼布，端莊穩重。此蘆笙衣運用了疊繡。疊繡，又稱堆繡，是將上過漿的輕薄絲綾面料裁剪折疊成細三角形，堆疊於底布之上，邊堆邊用針線固定，組合成矩形的飾片。蘆笙衣由馬甲和飄帶組合而成，飄帶下方一般會墜有動物的羽毛，一般為鳥毛，也有雞毛或鵝毛。在侗族男人吹奏蘆笙時，飄帶會隨著舞動的節奏，有韻律搖曳飄動。</text>
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                <text>晚清 Late Qing Dynasty</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------knot-stitch"&gt;打籽绣 Knot stitch&lt;/a&gt;，龙 Dragon，蝴蝶 Butterfly，山羊 Goat，麒麟 Kylin，脊宇鸟 Divine bird</text>
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                <text>（简）大洋袋采用了红色的底布，上面绣有丰富多样的动物图纹，如龙、麒麟、脊宇鸟等等，画面非常热闹，绣出了大自然一派生机盎然的景象。此大洋袋运用了打籽绣。侗族打籽绣技艺繁复，先用丝线先将图案勾绣出轮廓，再用打籽绣技法填充轮廓内部。绣针从背面向正面刺上来后，将针尖在丝线底脚卷上两转，绕成颗粒状小圈，形成一粒籽，周而复始，直到这样的小籽密密麻麻布满整个图案内部，故而得名打籽绣。&#13;
&#13;
(ENG) Dong purse: red base cloth with rich and diverse embroidered animal patterns including dragons, kylins and divine birds. The bustling scene showcases the vibrancy of the natural world. Knot stitch is used. To create the complicated Dong knot stitch, a silk thread is used to outline the pattern first, and then the knot stitch technique is used to fill in the pattern. When making the knot stitch, the needle should be pierced from the back of the fabric to the front, and the tip of the needle should be looped twice on the bottom of the silk thread in a small granular circle about the size of a seed. This process is repeated until the small knots densely cover the entire pattern, hence the name ‘knot stitch’. &#13;
&#13;
（繁）大洋袋採用了紅色的底布，上面繡有豐富多樣的動物圖紋，如龍、麒麟、脊宇鳥等等，畫面非常熱鬧，繡出了大自然一派生機盎然的景象。此大洋袋運用了打籽繡。侗族打籽繡技藝繁複，先用絲線先將圖案勾繡出輪廓，再用打籽繡技法填充輪廓內部。繡針從背面向正面刺上來後，將針尖在絲線底腳卷上兩轉，繞成顆粒狀小圈，形成一粒籽，周而復始，直到這樣的小籽密密麻麻佈滿整個圖案內部，故而得名打籽繡。</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------flat-stitch"&gt;平绣 Flat stitch&lt;/a&gt;，传统花鸟图案 Traditional flower and bird patterns</text>
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                <text>（简）背带整体为鲜红色，以绿色边框点缀刺绣部分，有吉祥福气之寓意。此背带运用了平绣。背带中间部分的传统花鸟图案亦十分精美，花儿婀娜多姿，小鸟栩栩如生，可见刺绣技艺之高超。由于土家族长期受汉族文化的影响，刺绣风格偏汉族文化。背带是少数民族背小孩的工具，常用蜡染，织锦，刺绣工艺来制作。背带的制作相当耗时耗工，寄托了无限的母爱和美好祝愿。 &#13;
&#13;
(ENG) Baby carrying belt: bright red with green embroidered borders. The colour red signifies auspiciousness. Flat stitch is used. The centre is decorated with intricate traditional flower and realistic bird patterns. As the Tujia culture has long been influenced by Han culture, the embroidery style of this belt has similarities with Han clothing culture. Baby carrying belts are used by ethnic minorities to swaddle their babies and are a crucial part of their clothing culture. Creating each baby carrying belt is time-consuming and laborious, and women make these exquisite carrying belts as a direct demonstration of motherly love. &#13;
&#13;
（繁）背帶整體為鮮紅色，以綠色邊框點綴刺繡部分，有吉祥福氣之寓意。此背帶運用了平繡。背帶中間部分的傳統花鳥圖案亦十分精美，花兒婀娜多姿，小鳥栩栩如生，可見刺繡技藝之高超。由於土家族長期受漢族文化的影響，刺繡風格偏漢族文化。背帶是少數民族背小孩的工具，常用蠟染，織錦，刺繡工藝來製作。背帶的製作相當耗時耗工，寄託了無限的母愛和美好祝愿。 </text>
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                <text>土家族 The Tujia</text>
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                <text>上世纪50年代 Last century 50s</text>
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                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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                <text>铜仁市松桃县 Tongren Songtao County</text>
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                <text>（简）腰带在黑色底布上绣有金色的蝴蝶和锦鸡，华丽而又不失灵动。此腰带运用了平绣。腰带图案及色彩对称分布，工艺精湛，制作严谨。由于土家族长期受汉族文化的影响，刺绣风格偏汉族文化。该件藏品的收藏价值甚高，年代久远，保存完整，是不可多得的刺绣精品。 &#13;
&#13;
(ENG) Tujia belt: black base cloth with gorgeously vivid embroidered golden yellow butterflies and pheasants. Flat stitch is used. Patterns and colours of the belt are symmetrically distributed with exquisite and precise craftsmanship. The Tujia have long been influenced by Han culture, and both cultures have a similar embroidery style. This belt is well preserved and is a rare and precious addition to the collection.&#13;
&#13;
（繁）腰帶在黑色底布上繡有金色的蝴蝶和錦雞，華麗而又不失靈動。此腰帶運用了平繡。腰帶圖案及色彩對稱分佈，工藝精湛，製作嚴謹。由於土家族長期受漢族文化的影響，刺繡風格偏漢族文化。該件藏品的收藏價值甚高，年代久遠，保存完整，是不可多得的刺繡精品。 </text>
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                <text>晚清 Late Qing Dynasty</text>
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                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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                <text>铜仁市松桃县 Tongren Songtao County</text>
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                <text>土家族嫁妆包 The Tujia Marriage Purse</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------split-thread-stich"&gt;破线绣 Split-thread stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------stack-stitch"&gt;叠绣 Stack stitch&lt;/a&gt;，盘长 Shrivatsa，蝴蝶花 Butterfly flower</text>
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                <text>（简）嫁妆包在红色底布的中心绣上大矩形，内有上下左右对称的盘长和蝴蝶花图纹，矩形外亦被盘长围绕，精美大气。此嫁妆包运用了破线绣和叠绣。叠绣，又称堆绣，是将上过浆的轻薄丝绫面料裁剪折叠成细三角形，堆叠于底布之上，边堆边用针线固定，组合成矩形的饰片。由于土家族长期受汉族文化的影响，刺绣风格偏汉族文化。盘长和蝴蝶花等图案也反映了土家族与汉族长期杂居，形成文化相融的社会形态。 &#13;
&#13;
(ENG) Tujia marriage purse: using split-thread stitch and stack stitch, a large rectangle is embroidered in the centre of the red base cloth. Inside the rectangle are symmetrical Shrivatsa and butterfly flower patterns, The same exquisite and elegant Shrivatsa can be found surrounding the outside of the rectangle. Stack stitch, also known as pile stitch, is made by cutting and folding pieces of glued thin silk fabric onto small triangular shapes. These small pieces are then stacked on top of the base cloth, the sides sewn with needle and thread, and then combined into a rectangular ornament. Due to the lasting influence the Han’s culture has had on the Tujia, the latter’s embroidery style resembles that of the Han’s. The Shrivatsa and butterfly patterns also suggest that these Tujia and Han have lived together for a long time, integrating their cultural practices and social conventions.&#13;
&#13;
（繁）嫁妝包在紅色底布的中心繡上大矩形，內有上下左右對稱的盤長和蝴蝶花圖紋，矩形外亦被盤長圍繞，精美大氣。此嫁妝包運用了破線繡和疊繡。疊繡，又稱堆繡，是將上過漿的輕薄絲綾面料裁剪折疊成細三角形，堆疊於底布之上，邊堆邊用針線固定，組合成矩形的飾片。由於土家族長期受漢族文化的影響，刺繡風格偏漢族文化。盤長和蝴蝶花等圖案也反映了土家族與漢族長期雜居，形成文化相融的社會形態。 </text>
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                <text>晚清 Late Qing Dynasty</text>
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                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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                <text>贵州省铜仁市松桃县 Guizhou Tongren Songtao County</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------flat-stitch"&gt;平绣 Flat stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------split-thread-stich"&gt;破线绣 &lt;span&gt;Split-thread&lt;/span&gt; stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------stack-stitch"&gt;叠绣 Stack stitch&lt;/a&gt;</text>
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                <text>（简）出嫁包在红色底布上绣有绿、黄、红色的饰纹，并附有一条靛蓝色的带子，色彩艳丽，华丽夺目。此出嫁包运用了平绣、破线绣、叠绣。刺绣图案构图饱满，对称工整，做工仔细。由于土家族长期受汉族文化的影响，刺绣风格偏汉族文化。刺绣图案也反映了土家族与汉族长期杂居，形成文化相融的社会形态。 &#13;
&#13;
(ENG) Tujia wedding purse: red base cloth embroidered with green, yellow and red patterns. The purse comes with a colourful and gorgeous blue indigo belt. Flat stitch, split-thread stitch, stack stitch are used. Composition of the embroidery patterns is full, symmetrical and neat. As the Tujia have been influenced by Han culture for a long time, the embroidery style is similar to the Han. Embroidery patterns also are reflective of the fact that the Tujia and Han people have lived together for a long time and have a similar cultural heritage. &#13;
&#13;
（繁）出嫁包在紅色底布上繡有綠、黃、紅色的飾紋，並附有一條靛藍色的帶子，色彩艷麗，華麗奪目。此出嫁包運用了平繡、破線繡、疊繡。刺繡圖案構圖飽滿，對稱工整，做工仔細。由於土家族長期受漢族文化的影響，刺繡風格偏漢族文化。刺繡圖案也反映了土家族與漢族長期雜居，形成文化相融的社會形態。 </text>
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                <text>土家族 The Tujia</text>
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                <text>晚清 Late Qing Dynasty</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>#334</text>
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            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>贵州省铜仁市松桃县 Guizhou Tongren Songtao County</text>
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                  <text>3. 刺绣 Embroidery</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>大洋袋 Purse</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------split-thread-stich"&gt;破线绣 Split-thread stitch&lt;/a&gt;，繁花纹 Blossom pattern</text>
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                <text>（简）大洋袋采用了红色的底布，除了夺目鲜明，亦有吉祥幸福之寓意。此大洋袋运用了破线绣。在刺绣图案方面，中心绣有一朵大红花，再衬托四周的繁花纹。其余部分的花草则主要用蓝色调的丝线制作，并佐以青绿色和鹅黄色，使藏品色彩更丰富，再添层次感和美感。由于土家族长期受汉族文化的影响，刺绣风格偏汉族文化。这反映了土家族与汉族长期杂居，形成文化相融的社会形态。 &#13;
&#13;
(ENG) Tujia purse: red base cloth with flat stitch. The colour red is eye-catching and conotes auspiciousness. A large red flower is embroidered at the centre, surrounded by blossom patterns. The rest of the flower and grass patterns are stitched with blue toned, turquoise and yellow silk threads. These colour patterns create a beautiful layering effect. Due to the strong influence of the Han culture on the Tujia people, the embroidery style is close to that of the Han, reflecting the perennial social and cultural integration of Tujia and Han. &#13;
&#13;
（繁）大洋袋採用了紅色的底布，除了奪目鮮明，亦有吉祥幸福之寓意。此大洋袋運用了破線繡。在刺繡圖案方面，中心繡有一朵大紅花，再襯托四周的繁花紋。其餘部分的花草則主要用藍色調的絲線製作，並佐以青綠色和鵝黃色，使藏品色彩更豐富，再添層次感和美感。由於土家族長期受漢族文化的影響，刺繡風格偏漢族文化。這反映了土家族與漢族長期雜居，形成文化相融的社會形態。</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>土家族 The Tujia</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>上世纪50年代 Last century 50s</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>#40</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>贵州省铜仁市松桃县 Guizhou Tongren Songtao County</text>
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