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ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue X October 2025
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Enhancing The Preservation and Dissemination of Guangxi Zhuang
Brocade Patterns through Digital Virtual Exhibition Halls
Bao Shilian, Addley Bromeo Bin Bianus
*
1
Academy of Arts and Creative Technology, Universiti Malaysia Sabah, Malaysia
*
Corresponding Author
DOI:
https://dx.doi.org/10.47772/IJRISS.2025.910000151
Received: 06 October 2025; Accepted: 14 October 2025; Published: 06 November 2025
ABSTRACT
This study explores the preservation and dissemination of Guangxi Zhuang brocade patterns through digital
virtual exhibition halls. Using semi-structured interviews with cultural communicators, designers, artisans, and
collectors, the research investigates the cultural significance, traditional practices, challenges, and opportunities
associated with Zhuang brocade. Findings reveal that brocade patterns are central to Zhuang identity and
heritage, yet face threats from declining apprenticeships, limited economic incentives, and modernization
pressures. Digital virtual exhibition halls provide innovative solutions for preservation, education, and audience
engagement, though concerns remain regarding authenticity and materiality. The study highlights the importance
of participatory approaches, stakeholder collaboration, and the integration of traditional knowledge with
contemporary digital technologies to ensure sustainable cultural transmission. These insights contribute to
theoretical understanding and practical strategies for safeguarding minority textile heritage in the digital era.
Keywords: Zhuang brocade, digital virtual exhibition, intangible cultural heritage, preservation
INTRODUCTION
Guangxi Zhuang brocade, known as Zhuangjin, represents one of the most celebrated textile traditions of China’s
ethnic minorities (Tian & Sikka, 2024a, 2024b). As an important intangible cultural heritage, it embodies not
only exquisite weaving techniques but also profound symbolic meanings embedded in its patterns. The motifs
of Zhuang brocade record the history, cosmology, rituals, and daily life of the Zhuang people (Luo & Wechkama,
2024). They also stand as markers of cultural identity and community belonging. However, despite its historical
and cultural value, Zhuang brocade is confronted with pressing challenges in preservation and dissemination.
With modernization, industrial production, and changes in lifestyle, the traditional modes of weaving and
transmitting Zhuang motifs have gradually declined (Tian & Sikka, 2024b). Fewer young people are learning
the craft, market demand is unstable, and public recognition remains limited. In this context, exploring new
pathways for the safeguarding and revitalization of Zhuang brocade has become both an academic and practical
necessity.
The rise of digital technologies has introduced fresh opportunities to reimagine the protection and
communication of intangible cultural heritage (Hou et al., 2022). Among these technologies, digital virtual
exhibition halls have emerged as a promising avenue (Tsatsanashvili, 2024). Unlike traditional museums or
physical exhibitions, virtual exhibition platforms transcend geographical and temporal boundaries. They allow
audiences to interact with heritage artifacts through immersive visualization, multidimensional interpretation,
and participatory experiences. For Zhuang brocade, the adoption of digital exhibition methods is not merely a
technical shift but a cultural innovation that reshapes how patterns are preserved, experienced, and transmitted.
Virtual spaces provide an environment where archived textile patterns can be stored, contextualized, and re-
presented to diverse audiences worldwide (Siliutina et al., 2024). They also create channels for engaging younger
generations, who are more accustomed to digital consumption and interactive learning. Thus, the study of
Zhuang brocade in the perspective of virtual exhibition halls offers a timely response to the dual challenge of
safeguarding heritage and enhancing its cultural vitality.
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Despite these opportunities, the integration of Zhuang brocade into digital exhibition spaces raises several
unresolved issues. One pressing concern lies in how to ensure the authenticity and integrity of patterns once they
are digitized. The process of digital reproduction risks detaching the motifs from their original cultural
environment, thereby reducing them to mere decorative visuals. Another concern involves the audience’s
reception: will virtual presentations truly cultivate cultural appreciation, or will they transform brocade into a
superficial spectacle? Moreover, the technical design of virtual exhibitions requires interdisciplinary
collaboration between cultural practitioners, designers, and digital technologists, which has not been
systematically examined in existing studies (Beale et al., 2022). Without addressing these issues, the digital
transformation of Zhuang brocade could risk being either ineffective or counterproductive (Kamariotou et al.,
2021; Murwonugroho et al., 2024). Hence, it is crucial to examine the cultural, technical, and communicative
dimensions involved in using digital virtual exhibition halls for the preservation and dissemination of Zhuang
motifs.
The objective of this research is to investigate how digital virtual exhibition halls can be employed as effective
platforms for the protection and dissemination of Guangxi Zhuang brocade patterns. Specifically, the study aims
to explore the ways in which these virtual spaces can contribute to safeguarding the intangible knowledge
embedded in weaving traditions, while simultaneously enhancing the accessibility and attractiveness of brocade
culture to broader audiences. To achieve this, the research adopts a qualitative methodology based on semi-
structured interviews with four groups of stakeholders: cultural communicators of Zhuang brocade, designers
involved in integrating Zhuang motifs into creative industries, inheritors of traditional weaving skills, and
collectors who conserve brocade artifacts. By engaging with these diverse voices, the study seeks to capture a
holistic understanding of how virtual exhibition technologies interact with cultural practices and expectations.
The significance of this study extends across several dimensions. From a theoretical perspective, it contributes
to the expanding literature on digital heritage and the role of virtual technologies in cultural preservation. While
many studies have examined museum digitization or general intangible heritage protection, few have focused
specifically on ethnic textile traditions such as Zhuang brocade. This research, therefore, fills a gap by situating
brocade motifs within the emerging framework of digital exhibition design and by analyzing their
communicative and cultural functions in virtual environments. From a practical perspective, the study offers
actionable insights into how cultural institutions, local governments, and creative industries can collaborate to
design effective virtual exhibition halls. Such collaboration could generate sustainable strategies for both
safeguarding the heritage and promoting cultural industries related to Zhuang brocade. Another important
contribution lies in providing a platform for stakeholders’ voices. Too often, digital heritage projects are led
primarily by technologists or institutions, with limited participation from cultural practitioners. By
foregrounding the perspectives of brocade inheritors, designers, communicators, and collectors, this study
emphasizes the need for participatory and culturally sensitive approaches. It highlights the ways in which
different stakeholders envision the role of virtual exhibitions, ranging from educational functions to commercial
applications, from community identity reinforcement to global cultural exchange. These insights can guide future
projects in balancing technological innovation with cultural authenticity.
Moreover, the study addresses a broader societal concern: the intergenerational transmission of intangible
heritage. In the case of Zhuang brocade, younger generations have increasingly turned away from learning the
traditional craft due to limited economic prospects and the lure of urban employment. Virtual exhibition halls
can act as bridges, making brocade culture accessible in formats that resonate with digital natives. Through
gamification, interactive storytelling, and immersive visualization, virtual exhibitions can create experiences that
not only preserve historical motifs but also inspire curiosity, emotional resonance, and cultural pride among
youth. This potential for intergenerational connection underscores the practical importance of the research.
Finally, the research situates Zhuang brocade within global discourses of cultural diversity and digital
empowerment. As intangible heritage worldwide confronts threats from globalization and homogenization,
digital platforms present new avenues for cultural exchange and identity affirmation. By analyzing the case of
Zhuang brocade, this study also contributes to comparative understandings of how local heritage can engage
with global audiences through technology. The findings may inform similar efforts in other cultural contexts,
such as the preservation of minority textiles, folk arts, or ritual practices. Thus, the implications of this study
extend beyond Guangxi, offering perspectives for global heritage studies.
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LITERATURE REVIEW
Zhuang Brocade and Ethnic Textiles
The academic exploration of Zhuang brocade has been situated within broader discussions of ethnic textiles and
intangible cultural heritage (Beale et al., 2022). Zhuang brocade, known in Chinese as Zhuangjin, is among the
most emblematic textile traditions of China’s minority cultures, characterized by vibrant colors, complex
patterns, and symbolic motifs (Zhang et al., 2024). Scholars have extensively documented its origins,
development, and sociocultural significance. Ethnographic accounts trace Zhuang brocade back over a thousand
years, highlighting how weaving techniques were passed down through generations within family and
community structures (Chai & Sirisuk, 2023). Stud The academic exploration of Zhuang brocade has been
situated within broader discussions of ethnic textiles and intangible cultural heritage ies by cultural historians
emphasize that its motifs—geometric forms, stylized flowers, animals, and totemic symbols—reflect
cosmological beliefs, agricultural rituals, and ancestral worship practices of the Zhuang people. These visual
elements are not mere decorations but encode narratives of identity, community cohesion, and cosmological
order.
Beyond Zhuang brocade, comparative research on other minority textiles, such as Miao embroidery, Tibetan
thangka weaving, and Uyghur ikat fabrics, reveals similar dynamics between artistic creativity and cultural
continuity (Zhang & Yang, 2023). These traditions are often analyzed as material culture that embodies
intangible knowledge. Scholars underline their dual role as aesthetic artifacts and as instruments of cultural
transmission. Textile motifs are linked to gender roles, social status, and rites of passage, making them vital to
community identity (Sørensen, 1997). Such studies broaden the understanding of Zhuang brocade by situating
it within the wider spectrum of Chinese and global ethnic textile traditions. Nevertheless, much of the literature
also draws attention to the threats these textile traditions face. The decline of traditional apprenticeship systems,
rural-to-urban migration, industrial competition, and limited consumer demand all contribute to the weakening
of heritage textiles. Research on Zhuang brocade notes that while the craft once thrived as a vital local economy,
its market presence has diminished, leaving only small-scale workshops or individual artisans struggling for
survival. Governmental and institutional support exists, particularly under the framework of intangible cultural
heritage protection, yet challenges remain in terms of sustainable practice and widespread appreciation. Scholars
argue that safeguarding efforts must combine traditional techniques with innovative dissemination strategies to
reach younger audiences and global markets.
Another strand of research focuses on the adaptation of ethnic textile traditions into contemporary design and
cultural industries (Chuprina et al., 2021; Song et al., 2024). Zhuang brocade has been incorporated into fashion
design, interior decoration, and tourism products, generating renewed visibility and economic value. However,
debates continue regarding the tension between cultural authenticity and commodification. Some scholars argue
that commercialization risks diluting cultural meaning, reducing motifs to decorative commodities detached
from their cultural roots. Others contend that innovation is necessary for survival, and that reinterpretation within
modern contexts can ensure continuity. The literature thus identifies a central dilemma: how to preserve the
symbolic integrity of textile traditions while enabling them to thrive in modern cultural and economic systems.
This dilemma is crucial for understanding why new approaches, such as digital exhibitions, may offer solutions
by balancing preservation with creative dissemination.
Digitalization and Virtual Exhibitions in Heritage Research
The digitization of cultural heritage has become a focal point of research in both global and Chinese contexts
(Dang et al., 2021; Lian & Xie, 2024). Scholars have explored how emerging technologies such as 3D scanning,
augmented reality, and immersive virtual reality can support the preservation, documentation, and dissemination
of cultural artifacts (Dang et al., 2021). Digital archives allow for the storage of high-resolution images,
interactive models, and metadata, which enhance the accessibility and durability of heritage. Unlike physical
collections, which are constrained by space, fragility, and geographical distance, digital collections provide
opportunities for global audiences to engage with cultural heritage across time and space. Virtual exhibition halls
represent a significant innovation within this digital transformation. Unlike traditional museums, which require
physical presence, virtual exhibition platforms create immersive experiences accessible through digital devices.
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They can simulate museum environments or construct entirely new digital spaces where artifacts are presented
interactively. Scholars argue that these platforms democratize heritage access, particularly benefiting audiences
who cannot visit physical sites. They also facilitate new forms of audience engagement through narrative
storytelling, gamification, and participatory design. Virtual exhibitions can integrate multimedia elements—
audio, video, 3D animation—to contextualize artifacts, thereby enriching interpretation beyond what static
displays can achieve.
International research provides numerous examples of virtual museums developed for heritage preservation.
Projects such as the Europeana digital library and the Smithsonian’s online exhibitions illustrate how digital
technologies extend the reach of heritage collections (Purday, 2010). In Asia, Japanese and Korean institutions
have pioneered digital reconstructions of historical sites and artifacts, enabling users to experience cultural
heritage in immersive ways. In China, digitization has become a policy priority, with major museums developing
online platforms and mobile applications that present cultural relics virtually. Researchers highlight that these
initiatives contribute to cultural education, global outreach, and cultural diplomacy.
However, the literature also underscores critical challenges. One concern is authenticity: digital reproductions
may lose the material aura and tactile qualities of physical artifacts. Some scholars caution against “technological
fetishism,” where digital spectacle overshadows cultural meaning. Another concern is sustainability: virtual
exhibition projects require continuous investment in infrastructure, technology updates, and maintenance, which
are often neglected once initial funding ends. Furthermore, the role of communities in digital projects remains
underdeveloped. While digitization often involves institutions and technologists, heritage bearers themselves are
sometimes marginalized in the process. Scholars emphasize that participatory approaches are essential to ensure
cultural sensitivity and inclusivity. The Chinese context also presents unique debates. Although many museums
and heritage institutions have embraced digital strategies, these are sometimes criticized for being overly
commercial or entertainment-driven. Studies indicate that virtual exhibitions risk becoming superficial
showcases without deep engagement with cultural significance. The question of how to balance technological
innovation with cultural authenticity remains central. This body of literature provides valuable insights for
examining how virtual exhibitions might be applied to the case of Zhuang brocade.
Digital Virtual Exhibition Halls and Guangxi Zhuang Brocade Patterns
The intersection of digital virtual exhibition halls and Zhuang brocade motifs has only recently begun to receive
scholarly and practical attention (Zhang & Krotova, 2024; Zhang et al., 2024). A few pilot projects have sought
to digitize brocade patterns by creating online databases or interactive displays within local museums in Guangxi.
These initiatives have primarily focused on recording visual motifs in high-resolution formats and making them
available to wider audiences. Scholars note that such digitization enhances documentation, allowing for the long-
term preservation of designs that might otherwise be lost due to declining weaving practices. Nevertheless, there
remains a lack of systematic frameworks for integrating Zhuang brocade into immersive virtual exhibition
environments. Unlike large-scale museum projects, efforts involving minority textile traditions are often
fragmented and underfunded. The literature suggests that incorporating brocade motifs into virtual exhibitions
requires more than technical replication; it demands contextual interpretation. For example, motifs such as the
“dragon and phoenix” or “hundred birds” are deeply embedded in Zhuang mythology and social rituals. Simply
displaying these patterns in digital form without their cultural narrative’s risks decontextualization. Scholars
emphasize that virtual exhibitions should combine visual presentation with storytelling, community voices, and
interactive learning to ensure that cultural meaning is preserved alongside aesthetics.
Some design-focused research highlights the potential of virtual exhibitions to rejuvenate heritage textiles by
engaging contemporary audiences (Wu et al., 2025). Digital platforms can showcase brocade in innovative
contexts—such as fashion design simulations, architectural visualizations, or cross-cultural comparisons—that
enhance its visibility and relevance. Furthermore, virtual exhibitions can create interactive experiences, where
users manipulate patterns, explore weaving processes, or participate in digital storytelling. Such interactivity
aligns with younger audiences’ expectations and learning styles, making heritage more accessible and engaging.
At the same time, critical voices warn of the risks associated with digital appropriation. When motifs are
digitized, they may be extracted and used in design industries without proper acknowledgment or benefit to
cultural communities. Issues of intellectual property and cultural ownership are pressing, particularly in the
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context of minority heritage. The literature stresses the importance of ethical frameworks to ensure that
digitization and virtual dissemination respect community rights and benefit local practitioners.
Research Gaps
The literature reviewed reveals both the richness of existing scholarship and the notable gaps that this study aims
to address. First, there is a theoretical gap: studies on Zhuang brocade focus primarily on its cultural history,
symbolism, and role in ethnic identity, while digital heritage research often centers on museums or world-
renowned heritage sites. Few studies have explicitly connected minority textile traditions with the framework of
virtual exhibition halls. This fragmentation has limited the development of a coherent theoretical understanding
of how digital platforms can support the safeguarding of ethnic textile motifs. Second, there is a methodological
gap. Much of the digital heritage literature relies on case studies of institutional projects, with limited attention
to the voices of community stakeholders. In the case of Zhuang brocade, research rarely engages directly with
weavers, designers, collectors, or cultural communicators. Without incorporating their perspectives, digital
projects risk being technologically sophisticated but culturally disconnected. A qualitative, stakeholder-centered
approach is therefore necessary to capture the nuanced cultural meanings and practical concerns involved in
brocade preservation.
Third, there is a practical gap. Although pilot projects exist for digitizing Zhuang brocade motifs, they are
fragmented and often lack long-term sustainability. There is limited research on how virtual exhibition halls can
be systematically designed to balance authenticity, accessibility, and innovation. Furthermore, little attention has
been given to issues of intellectual property, community benefits, and ethical digitization in the context of
minority textiles. These omissions hinder the development of effective and inclusive strategies. By addressing
these gaps, the present study aims to make several contributions. Theoretically, it integrates the discourse on
intangible heritage, digital exhibitions, and minority textiles into a unified analytical framework.
Methodologically, it foregrounds stakeholder voices through semi-structured interviews with cultural
communicators, designers, weavers, and collectors. Practically, it seeks to provide design principles and
recommendations for implementing digital virtual exhibition halls that are culturally sensitive, technologically
feasible, and socially sustainable. In doing so, the study not only advances the academic understanding of digital
heritage but also offers practical solutions for safeguarding and disseminating Guangxi Zhuang brocade patterns
in the digital age.
RESEARCH METHODOLOGY
Research Design
This study adopts a qualitative research design that is rooted in interpretivist epistemology (Goldkuhl, 2012).
The central aim is to explore how Guangxi Zhuang brocade patterns, as an intangible cultural heritage, are
preserved and disseminated in the context of digital virtual exhibition halls. Quantitative methods, though
valuable for measuring predefined variables, are not adequate for capturing the complexity of cultural meanings,
traditions, and individual narratives. Thus, qualitative inquiry is more appropriate because it emphasizes depth,
context, and the subjective perspectives of participants. Semi-structured interviews were chosen as the main
research tool, as they strike a balance between providing consistency across participants and leaving sufficient
room for participants to elaborate on their personal views. This method is particularly effective in investigating
cultural heritage because it allows participants to share experiential knowledge, stories, and emotions that are
often difficult to express in rigid survey forms. The research is exploratory in nature, reflecting the relatively
limited scholarship on the intersection of Zhuang brocade, digital heritage, and virtual exhibition technologies.
By using an interpretive approach, the research aims not only to identify observable practices but also to
understand the symbolic meanings and cultural logics underpinning them.
Sampling
The study employs purposive sampling to select participants who have extensive knowledge and practical
experience in the preservation, dissemination, and creative use of Zhuang brocade (Campbell et al., 2020). Four
key groups of stakeholders are targeted: cultural communicators who actively promote Zhuang heritage through
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education, tourism, or media; designers who incorporate Zhuang brocade motifs into contemporary fashion,
crafts, or digital art; artisans and inheritors who are responsible for the production and technical preservation of
brocade patterns; and collectors who acquire, conserve, and display brocade works, contributing to heritage
awareness and continuity. Approximately 20 to 25 participants are anticipated, providing sufficient diversity to
capture a wide range of perspectives. Selection criteria include professional experience, recognition within the
community, and familiarity with traditional or digital heritage practices. In addition to purposive selection,
snowball sampling may be employed, whereby initial participants recommend other knowledgeable individuals,
particularly within artisan networks where trust and personal connections are crucial. This approach ensures that
the sample reflects a broad spectrum of expertise and that thematic saturation is reached, allowing the research
to uncover meaningful patterns without redundancy. By engaging multiple stakeholder groups, the study captures
both traditional and contemporary perspectives on Zhuang brocade, encompassing preservation, creative
adaptation, and digital dissemination.
Data Collection Methods
Semi-structured interviews serve as the primary method for collecting data, providing both a structured
framework and the flexibility to explore participants’ unique experiences and insights. The interview guide
includes questions regarding the cultural and symbolic significance of Zhuang brocade, current practices in
heritage preservation, interactions with digital technologies, perceptions of virtual exhibition halls, and
expectations for future development. Interviews are conducted in either Mandarin or the Zhuang language
depending on participants’ preferences, with interpretation provided where necessary to ensure accurate capture
of meaning. Each session typically lasts between 45 and 90 minutes, allowing sufficient time for in-depth
discussion. Interviews are audio-recorded with participants’ consent and transcribed verbatim to facilitate
rigorous analysis. Field notes are also taken to capture non-verbal cues, environmental context, and additional
observations that contribute to understanding the practices and perspectives of participants. Supplementary
materials, such as digital exhibition platforms, museum archives, and promotional documents, are reviewed to
triangulate the findings. This combination of interviews and contextual data ensures a comprehensive
understanding of how Zhuang brocade patterns are preserved and disseminated, both in traditional settings and
through emerging digital virtual exhibition technologies.
Procedures
The research process follows a structured yet flexible procedure. First, potential participants will be identified
through cultural institutions, design studios, and heritage organizations in Guangxi. Initial outreach will be
conducted via phone, email, or personal introductions, followed by the distribution of an information sheet
outlining the research objectives, confidentiality, and voluntary participation. After obtaining informed consent,
interviews will be scheduled at convenient times and locations. For artisans and inheritors, in-person interviews
will be prioritized, ideally conducted in weaving workshops or households where the brocade is produced. This
setting allows the researcher to observe weaving practices, tools, and materials, thereby adding ethnographic
depth to the interviews. For cultural communicators, designers, and collectors, a combination of in-person and
online interviews (via platforms such as Zoom or Tencent Meeting) will be employed to accommodate
participants with busy schedules or distant locations. Data collection will take place over three months to ensure
sufficient coverage of all participant groups. All recordings and transcripts will be stored securely with
anonymized codes assigned to participants to protect their identities. The procedure is designed to maximize
data richness while adhering to ethical research standards.
Data Analysis
Data analysis will follow a thematic approach as proposed by Braun and Clarke (2006). The process involves
six stages: familiarization with the data, generation of initial codes, identification of themes, review of thematic
coherence, naming and defining themes, and final report writing. NVivo software will be used to manage and
code the transcripts systematically, enabling the researcher to organize large volumes of qualitative data
efficiently. The analysis will focus on identifying patterns of meaning across participants, particularly concerning
how different groups perceive the role of digital virtual exhibitions in safeguarding and promoting Zhuang
brocade patterns. Comparative attention will be given to differences between groups—for instance, artisans may
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emphasize authenticity and cultural continuity, while designers may highlight innovation and market expansion.
Reflexivity will also be incorporated, with the researcher acknowledging their own position and potential biases
in the interpretive process. The final analysis will aim to generate a conceptual framework that links digital
exhibition practices with the broader goals of heritage protection and cultural dissemination.
RESULTS
Perceptions of Cultural Value
The interviews revealed a strong consensus among participants regarding the cultural and symbolic value of
Zhuang brocade. Artisans emphasized that brocade patterns embody centuries of communal knowledge, rituals,
and aesthetic traditions. One weaver stated, “Each motif tells a story of our ancestors; losing the pattern is losing
a piece of our history.” Designers highlighted the importance of brocade motifs as a source of creative
inspiration, noting that incorporating these patterns into contemporary products allows the heritage to reach
broader audiences while maintaining its symbolic significance. Collectors and cultural communicators also
emphasized that brocade represents Zhuang identity and pride, functioning as both a tangible artifact and a
medium of cultural storytelling. Across all groups, the brocade was perceived as an essential medium through
which historical continuity and ethnic identity are maintained. This perception aligns with previous studies
emphasizing the dual function of ethnic textiles as aesthetic objects and carriers of intangible cultural knowledge
(Wang, 2018; Li & Zhang, 2020). Participants further noted that younger generations show increasing curiosity
about the patterns, particularly when brocade is presented through digital platforms, highlighting the potential
of technology-mediated engagement for cultural education.
Traditional Practices and Challenges in Preservation
Despite recognition of its value, the study found significant challenges in sustaining traditional brocade practices.
Artisans reported that apprenticeships are declining due to rural-to-urban migration and limited economic
incentives, as shown in Table 1. One master weaver commented, “It takes years to learn the weaving techniques,
but young people prefer easier, more profitable work.” Cultural communicators emphasized that the traditional
methods are difficult to standardize or mass-produce, which limits their exposure in broader markets. Economic
pressures, such as competition from machine-made textiles and insufficient local demand, exacerbate the threat
to heritage continuity. Collectors echoed these concerns, noting that without active preservation efforts, many
patterns risk being forgotten. Interestingly, designers expressed that integrating brocade motifs into modern
products could mitigate some challenges, yet they acknowledged that balancing commercial appeal with cultural
authenticity remains difficult. These findings support prior research indicating that minority textile traditions are
vulnerable to modernization pressures and require innovative strategies for sustainable preservation.
Table 1 Profile of Interview Participants
Participant group
Number
Years of experience
Primary role
Artisans/Inheritors
7
10–35
Traditional weaving, pattern creation
Designers
6
5–15
Integrating brocade into modern design
Cultural Communicators
6
3–20
Heritage promotion, education
Collectors
4
5–25
Preservation, exhibition, collection
Digitalization and Virtual Exhibitions as Opportunities
Participants expressed optimism regarding the role of digital virtual exhibition halls in preserving and promoting
Zhuang brocade patterns. Designers and cultural communicators emphasized that digitization allows patterns to
be recorded in high resolution and displayed interactively, enabling audiences to explore motifs, color schemes,
and weaving techniques virtually. One designer noted, “Virtual exhibitions let users interact with brocade
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patterns in ways that are impossible in a physical museum; they can rotate, zoom, and even simulate weaving
processes.” Collectors reported that online platforms increase visibility and appreciation of brocade, attracting
younger audiences and potential buyers, while artisans recognized the potential for digital platforms to
supplement traditional education and apprenticeship programs. Participants also highlighted several functional
advantages: digital archiving ensures the long-term preservation of delicate patterns, virtual exhibitions
overcome geographic barriers, and interactive experiences enhance learning. Nevertheless, some participants
raised concerns about losing the tactile and material qualities inherent in physical textiles. Artisans, in particular,
emphasized that touch and texture are critical for understanding weaving complexity, and that purely visual
digital representations cannot fully convey craftsmanship. Despite these limitations, the overall sentiment
suggested that digital platforms are a valuable complement to traditional preservation and an effective means of
disseminating cultural knowledge to global audiences.
Tensions and Future Prospects
The study revealed tensions among stakeholder priorities (Table 2). Artisans prioritize authenticity and technique
preservation, designers emphasize creativity and market integration, and collectors focus on documentation and
exhibition. While these perspectives are complementary, conflicts arise when commercialization risks
overshadow cultural integrity. Several participants proposed co-design approaches, involving artisans in digital
exhibitions and design processes to ensure that heritage is represented ethically. Virtual exhibitions were also
identified as a platform for collaborative innovation, where stakeholders can negotiate representation, aesthetics,
and cultural interpretation. Participants expressed hope that future digital initiatives could integrate interactive
features such as storytelling, 3D weaving demonstrations, and participatory design workshops. This could foster
deeper engagement with Zhuang brocade among younger audiences and urban consumers while maintaining
cultural authenticity. Moreover, ethical considerations, including intellectual property protection, fair
compensation for artisans, and community involvement, were highlighted as crucial for sustainable practice.
These insights indicate that a participatory, multi-stakeholder approach to digital exhibition design may provide
an effective model for safeguarding minority heritage while leveraging contemporary technological tools.
Table 2 Emerging Themes from the Data
Theme
Stakeholder Group
Cultural significance and
identity
Artisans
Preservation challenges
Artisans
Digital opportunities
Designers /
Communicators
Stakeholder tensions and
collaboration
All Groups
Future engagement and
education
Designers /
Communicators
DISCUSSION
The findings of this study demonstrate that Guangxi Zhuang brocade patterns are valued not only as aesthetic
artifacts but also as powerful symbols of ethnic identity, cultural continuity, and communal heritage. Across
stakeholder groups, participants emphasized the deep cultural significance of brocade motifs, highlighting that
these patterns carry stories, rituals, and historical memory embedded within the Zhuang community. Artisans
stressed the importance of maintaining traditional techniques and authenticity, reflecting earlier research that
identifies ethnic textiles as both material objects and carriers of intangible heritage (Wang, 2018; Li & Zhang,
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2020). Designers and cultural communicators acknowledged that the symbolic meaning of brocade patterns can
be effectively conveyed to broader audiences through creative adaptation and educational efforts, while
collectors highlighted the importance of preservation and documentation for intergenerational transmission.
These findings reinforce the notion that Zhuang brocade embodies multifaceted values that encompass social,
cultural, and aesthetic dimensions.
Despite its recognized value, traditional practices face significant challenges. The study confirmed that artisan
communities are confronted with declining apprenticeships, limited economic incentives, and migration-driven
labor shortages. Many young people are reluctant to commit to the extensive time and effort required for
mastering traditional weaving techniques. These challenges align with prior studies showing that minority textile
traditions are increasingly vulnerable to modernization pressures, urbanization, and market-driven changes
(Chen, 2019; Xu & Ma, 2021). Participants also highlighted that the complexity of traditional techniques and
the lack of standardized production make commercialization difficult. Collectors and cultural communicators
echoed these concerns, noting that without targeted interventions, many patterns and techniques risk being lost.
The findings indicate that preserving Zhuang brocade requires a multifaceted strategy that integrates cultural
education, economic support, and adaptive design, thereby addressing both material sustainability and cultural
transmission.
Digital virtual exhibition halls emerged as a promising strategy for mitigating these challenges and expanding
the reach of Zhuang brocade. Participants emphasized that digital platforms allow high-resolution
documentation, interactive exploration of motifs, and immersive storytelling experiences. Designers noted that
virtual exhibitions provide an innovative medium for integrating brocade motifs into contemporary design while
maintaining cultural integrity. Cultural communicators highlighted that digital tool facilitate engagement with
younger generations and urban audiences who may not have access to traditional workshops. These results
corroborate prior research on digital heritage and virtual museums, which suggests that technology can enhance
accessibility, education, and preservation of intangible cultural assets (Economou, 2016; Champion, 2018).
Nevertheless, participants also raised limitations, such as the inability of digital platforms to convey tactile and
material qualities, the potential for misrepresentation, and technical barriers for smaller communities. These
findings suggest that digital interventions should complement, rather than replace, traditional practice, and
should involve participatory design processes to ensure cultural authenticity.
The study further revealed tensions and opportunities arising from differing stakeholder priorities. Artisans focus
on authenticity and technical preservation, designers emphasize innovation and market adaptation, and collectors
prioritize archival and exhibition concerns. While these perspectives may at times conflict, they also provide
complementary approaches to heritage preservation. Collaborative strategies, such as co-design workshops,
participatory digital curation, and community-led virtual exhibitions, can reconcile these tensions, ensuring that
cultural integrity is maintained while fostering creative engagement. The discussion aligns with participatory
heritage frameworks, which advocate for inclusive decision-making, community involvement, and ethical
representation in digital heritage projects (Graham et al., 2016; Simon, 2016). The findings indicate that Zhuang
brocade preservation benefits from integrative approaches that balance traditional practice, innovative design,
and technological facilitation.
Importantly, the study underscores the educational potential of digital virtual exhibitions. Participants
highlighted that interactive feature, such as 3D simulations, video demonstrations of weaving techniques, and
narrative storytelling, enhance user engagement and comprehension. This has implications for cultural policy,
suggesting that digital platforms can serve as both preservation tools and educational resources, extending the
reach of Zhuang brocade to global audiences. Furthermore, by documenting patterns and weaving processes
digitally, stakeholders can create an archival resource that supports long-term heritage sustainability. This aligns
with international literature emphasizing that digital documentation and virtual access can serve as a bridge
between traditional knowledge and contemporary cultural consumption (Parry, 2013; Orlando, 2019).
In summary, the discussion situates the empirical findings within broader theoretical and practical contexts. The
study confirms that Zhuang brocade patterns embody rich cultural, social, and aesthetic meanings, yet face
practical challenges in preservation and transmission. Digital virtual exhibition halls present viable opportunities
for promoting and sustaining this heritage, particularly when designed with participatory, multi-stakeholder
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involvement. The findings demonstrate that combining traditional knowledge, creative design, and technological
innovation can effectively address challenges related to cultural continuity, education, and audience engagement.
By highlighting both opportunities and limitations, this study contributes to the scholarship on intangible cultural
heritage, digital museums, and minority textile preservation, offering actionable insights for policymakers,
educators, and practitioners.
CONCLUSION
This study investigated the preservation and dissemination of Guangxi Zhuang brocade patterns through the lens
of digital virtual exhibition halls, emphasizing the perspectives of cultural communicators, designers, artisans,
and collectors. Using a qualitative methodology based on semi-structured interviews, the research generated
rich, contextually grounded insights into the cultural significance, challenges, and opportunities associated with
Zhuang brocade. By developing a digital framework for intangible cultural heritage (ICH) preservation, this
study contributes to emerging discussions on how immersive technologies can sustain ethnic textile traditions
while promoting cross-cultural engagement.
One of the central findings is that Zhuang brocade patterns are deeply embedded in the cultural identity of the
Zhuang community. Participants consistently emphasized that motifs and weaving techniques carry historical
narratives, social meanings, and aesthetic traditions that are integral to community cohesion. Artisans highlighted
the meticulous skills required to produce authentic patterns, while designers and cultural communicators noted
that brocade serves as an inspirational resource for contemporary creative industries and educational initiatives.
Collectors emphasized the importance of systematic preservation and documentation to ensure intergenerational
transmission. Collectively, these insights affirm that Zhuang brocade is not merely a material artifact but a
conduit of intangible cultural knowledge, aligning with prior literature on the dual significance of ethnic textiles
(Wang, 2018; Li & Zhang, 2020).
Despite its recognized cultural value, traditional practices face significant challenges. Declining apprenticeship
opportunities, urban migration, limited economic incentives, and competition from machine-produced textiles
threaten the sustainability of artisan communities. The study revealed that younger generations are less inclined
to commit to the intensive training required for traditional weaving, which may accelerate the loss of heritage
knowledge. Designers and cultural communicators suggested that integrating brocade into contemporary
creative work could revitalize interest and provide alternative income streams; however, they emphasized the
delicate balance required to maintain authenticity while adapting to modern markets. These findings underscore
the necessity for multifaceted strategies that combine cultural education, economic support, and adaptive
innovation to sustain traditional practices.
Digital virtual exhibition halls were identified as a key mechanism for addressing some of these challenges.
Participants noted that digital platforms facilitate high-resolution documentation, interactive exploration, and
immersive educational experiences, thereby increasing accessibility and engagement. Virtual exhibitions can
transcend geographic and social barriers, attracting younger audiences and promoting broader cultural
awareness. At the same time, stakeholders emphasized limitations, such as the inability of digital media to
replicate tactile qualities, potential misrepresentation of cultural symbols, and technological barriers for smaller
communities. The findings suggest that digital interventions are most effective when they complement, rather
than replace, traditional practices, and when they are developed through participatory approaches that include
artisans, designers, and community members. This approach ensures that cultural integrity is maintained while
leveraging the advantages of contemporary technology.
The study also highlighted the importance of multi-stakeholder collaboration. Artisans prioritized authenticity
and technical precision, designers focused on innovation and market adaptation, and collectors emphasized
documentation and preservation. Collaborative strategies, such as co-design workshops, participatory virtual
curation, and community-led digital projects, were suggested as effective mechanisms to reconcile these
differing priorities. Such collaboration aligns with participatory heritage frameworks advocated in the literature
(Graham et al., 2016; Simon, 2016), indicating that stakeholder engagement is essential for creating sustainable
and ethically sound digital exhibitions. Furthermore, interactive and educational features, including 3D
simulations, video demonstrations of weaving techniques, and narrative storytelling, were highlighted as critical
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for engaging audiences and transmitting cultural knowledge effectively.
Based on the findings, several practical and policy-oriented recommendations are proposed to strengthen the
preservation and revitalization of ethnic textile heritage in digital contexts. First, guidelines for digital heritage
preservation should be established at institutional and governmental levels to ensure that digital representations
of ethnic crafts maintain authenticity, respect intellectual property, and involve community participation
throughout the design and dissemination process. Second, regional cultural tourism strategies can benefit from
integrating virtual exhibitions as complementary tools for promoting ethnic culture and generating sustainable
economic value. Digital platforms can attract both domestic and international audiences, supporting local
artisans while contributing to regional cultural branding and creative economy development.
Third, cross-sector collaboration among designers, technologists, and cultural heritage experts should be
encouraged to co-create interactive and educational digital exhibitions. Such collaborations can bridge the gap
between cultural authenticity and technological innovation, ensuring that digital interventions reflect both
creative excellence and ethical responsibility. Fourth, capacity-building programs are essential to combine
traditional apprenticeship with digital literacy training, enabling artisans to adapt to new technologies without
compromising craftsmanship standards. This dual training approach enhances artisans’ agency and participation
in digital projects. Finally, sustainable funding mechanisms should be developed to support long-term digital
preservation efforts. Governments, cultural foundations, and private enterprises could jointly establish financial
models that provide consistent support for digital heritage initiatives, ensuring the economic sustainability of
artisan communities and the continued vitality of intangible cultural heritage.
This study also has certain limitations. The sample size was relatively small and focused primarily on
stakeholders within Guangxi, which may limit the generalizability of the findings. Additionally, the research
relied on qualitative interviews, which, while providing rich insights, may be influenced by participants’
subjective perspectives and self-reporting biases. The study also did not directly evaluate audience experiences
with digital exhibitions, leaving the impact on broader public engagement as an area for further exploration.
Future research could expand the sample to include national and international stakeholders involved in ethnic
textile preservation and digital heritage initiatives. Quantitative or mixed-method approaches could be employed
to assess the effectiveness of virtual exhibitions in increasing cultural knowledge, appreciation, and engagement
among different audiences. Longitudinal studies could also investigate how digital platforms influence the
sustainability of traditional practices over time. Furthermore, comparative studies across different ethnic textile
traditions may provide insights into the generalizability of participatory and digital strategies for intangible
cultural heritage preservation.
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