This book employs the theory and method of ethnology，art，history，computer information processing and so on.Its object of study is Tujia brocade“Sealand carp”，which is a typical culture phenomena of Tujia.On the basic of literature review and field work，this book also deeply explores about the pattern of Tujia brocade，technological process，inheritance group，protection model and puts forward relatively deep response tactics toward the predicament of traditional folk handicraft which gradually retreat from village with the development of economic globalization and societal modernism.

As a regional ethnic handcraft and folk tradition，Tujia brocade has been passed on for thousands of years and it experienced brilliance and then went down.Xiangxi Xiche river drainage basin is the only current region that produces brocade in folk by itself.In Laoche villiage，Yejia village and Jinxing village，“Dahua”is the most greatly preserved.However，the current situation of heritage is not so satisfying.Facing the poor situation of the strong shock of foreign culture，the great change of regional economic structure，social violent reform and the problem of no heritor，the original glory has decayed.With the opening reform，Tujia brocade began to revive and it grasped the opportunity of declaring intangible cultural heritage and combines it with tourism development.Nowadays，the development of Tujia brocade creates a new inherited mechanism and it also provides challenges and thinking based on academic principles.This is a dynamic situation where Tujia brocade“Sealand carp”presents.

Based on a field survey and the typical place of age and Laochecun，The structure of this book explores the development of Tujia brocade's development and its existing historical history.By using the methods of the“field triangle”and paying much attention to the interview of Lichengfeng，a Yejiazhai zhou-style missionary who taught the author how to“Qianhua”and“Dahua”，this book has detailed description of the production processes of Tujia brocade.And then，in its historical vein，with the two classic culture and the cultural elements associated with Tujia，it is a gradual transition to Tujia brocade's contemporary transformation.At the same time，on the basis of teasing predecessors’ studies，we had a deep study of the weak links，proposed by academia，which exists in the study of Tujia brocade culture.To begin with，we can have a deep description about the inheritor community of Tujia brocade culture.And we had deep interviews with artists of brocade who had great contribution to the three types：the original ecology reserved land，places of interest and the brand production.In this way，the case of oral history can be formed.Relatively，we had introduction of some workshops，training bases，specialty stores，brocade factories and brocade commercial companies.We are determined to keeping an eye on the current situation of Tujia brocade heritage and having a macroscopic command of its protection and sustainable development.Besides，we focus on the handcraft and technical features of Tujia brocade which are ignored by scholars.Tujia brocade，as the traditional handcraft，is full of spiritual culture in its heritage.What's more，we had culture destruction about the classical brocade pattern design where scholars have ambiguous argument.Firstly，it is the collection of traditional patterns and then it is the location of its names.226 kinds of patterns’ names and its corresponding Tujia names are clearly listed.Secondly，it is the analyses of these patterns and the conclusion of features of the patterns.Thirdly，we had a Anthropology clarification about the classical patterns coming from traditional patterns by using the theory of Anthropology culture.Lastly，we extended the cultural connotation of brocade cultural ecology and cultural space.Then，“Dahua”is almost originally protected because it is in the hinterland of Tujia but the current situation of“Dahua”is worse than it is in“Yejiazhai”and“Laochecun”.“Dahua”，as the typical example，almost completely clarifies the way and supporter of brocade heritage during the transformation period of society.We proposed five protection patterns and we introduced the practice of digital protection pattern in detail.Also，from the advantages，disadvantages and other multiple factors，we demonstrated the sustainable development of Tujia brocade.We consider that Tujia brocade can be developed in cultural industries from the aspect of market development.And we need to reorganize the protection of cultural ecology from the aspect of academic principle.In a word，we proposed some universal strategies for the development of contemporary traditional folk crafts.

Symbol is the carrier of culture inherence.Carrying long Tujia culture，the elegant“sealand karp”reflects the identities of Tujia itself and others，and becomes “cultural products”in today's tourism market and the economic development of Wuling mountain area.“Sealand karp”under the background of tourism changed from the traditional“tuhua bedclothes”into tourism handicrafts on the market.The local government，businessmen，inheritance and villagers mould sealand karp into“cultural symbols of Tujia nationality”.Through the anthropological investigation of the primitive reserve of Tujia brocade，the author thinks that the grassroots charm of Tujia brocade derives from its growth in the folk and prosperity in the society.It contains the idea of harmony and maintains the continuation of civilization.