维吾尔族地毯织造技艺 Uyghur Carpet Weaving Technique

地毯织造技艺（维吾尔族地毯织造技艺）属于国家级传统技艺类非物质文化遗产，项目编号Ⅷ-110，2008年列入第二批国家级非物质文化遗产扩展项目名录，由新疆维吾尔自治区洛浦县申报，法定保护单位为洛浦县时代地毯厂，和田洛浦是该项技艺核心发源地，喀什、莎车等地为重要传承区域。考古资料证实，新疆栽绒地毯织造历史超过两千年，民丰县尼雅遗址出土东汉地毯残片，证明早在汉晋时期，南疆绿洲先民已熟练掌握织毯工艺。依托古丝绸之路商贸交流，中原毛纺技术与西域本土织造工艺持续融合，历经唐、元、明清不断发展完善，逐步形成独具地域特征的维吾尔族手工栽绒地毯体系。

The Uyghur carpet weaving craft, officially named Carpet Weaving Craftsmanship (Uyghur Carpet Weaving Craftsmanship), is a national intangible cultural heritage under the traditional craft category. Listed as an expanded project in the Second Batch of National Intangible Cultural Heritage List in 2008 with project No. Ⅷ-110, it was declared by Lop County, Xinjiang Uygur Autonomous Region. Lop County Times Carpet Factory serves as the designated protection institution. Lop County in Hotan is the core birthplace of the craft, while Kashgar and Yarkand act as vital inheritance areas. Archaeological evidence proves that pile carpet weaving in Xinjiang boasts a history of more than 2,000 years. Fragments of Eastern Han carpets unearthed from the Niya Ruins in Minfeng County verify that as early as the Han and Jin dynasties, inhabitants in southern Xinjiang oases had mastered carpet weaving techniques proficiently. Benefiting from cultural exchanges along the ancient Silk Road, wool spinning technologies from central China integrated with indigenous western region weaving crafts. Constantly improved through the Tang, Yuan, Ming and Qing dynasties, a distinctive handmade knotted pile carpet system of the Uyghur people gradually took shape.

维吾尔族传统地毯以本地半粗毛羊毛为主要原料，传统生产流程包含纹样设计、羊毛梳理纺纱、植物染料染色、上机织造、剪片、平活、洗毯、修整等多道工序。技艺核心为森纳结扣（八字结）栽绒技法，工匠将染色毛线打结固定于经纬底线上形成绒面。该工艺优势突出，局部破损不会造成整块地毯松散，结实耐用；传统染色多就地取材，利用石榴皮、核桃皮、靛蓝等天然植物染料，色彩柔和持久。

Local coarse wool serves as the primary raw material for traditional Uyghur carpets. The whole production process covers pattern design, wool combing and spinning, natural dyeing, looming weaving, pile trimming, surface finishing, carpet washing and renovation. Its core technique is the Senna knot (figure-eight knot). Craftsmen fasten dyed wool yarn onto warp and weft threads to form the pile surface. This technique ensures that partial damage will not loosen the whole carpet, making it extremely durable. In traditional procedures, raw materials such as pomegranate peel, walnut husk and indigo are adopted as natural plant dyes to create mild and long-lasting colours.

在艺术层面，地毯纹样融汇绿洲自然风貌、民俗符号，常见花卉、巴旦木、羊角、藤蔓等图案，构图饱满对称、色彩对比浓烈，承载维吾尔族民众审美观念。地毯既是日常生活铺陈、礼拜使用的实用器物，也是壁挂陈设艺术品，历史上长期通过丝路远销中亚、西亚各国，是东西方文明交流的物质载体。如今该项技艺延续家族传承、师徒传授模式。地方政府依托非遗工坊、文旅项目推动技艺活化，开发特色文创产品拓展市场。同时技艺发展也面临挑战：手工织造周期长、劳动强度大，年轻人学习意愿偏低，传统天然染料工艺不断简化，机械化产品冲击手工地毯市场。当前当地持续推进传承人培育、传统工艺记录保护，推动千年织毯技艺持续活态传承。

Artistically, carpet patterns integrate oasis landscapes and folk symbols. Common motifs include flowers, badam nuts, goat horns and vines, featuring full symmetrical composition and striking colour contrast, embodying the aesthetic values of the Uyghur people. Functionally, traditional carpets are daily necessities for floor covering and religious worship as well as decorative wall hangings. Historically, they were exported to Central Asia and West Asia via the Silk Road, acting as a material medium for exchanges between eastern and western civilizations. Nowadays, the craft is inherited through family lineage and master-apprentice teaching. Local authorities promote the vitalization of this craft by building intangible cultural heritage workshops and cultural tourism projects, and expand markets by developing characteristic cultural and creative products. Nevertheless, it faces multiple challenges: handmade weaving requires long working hours and heavy labour, discouraging young learners. Traditional natural dyeing procedures are gradually simplified, and mechanized carpets bring fierce market competition. Currently, local authorities keep nurturing inheritors and documenting traditional techniques to sustain the millennia-old weaving craft.

维吾尔族地毯织造技艺根植于南疆塔里木盆地绿洲文明，考古实证显示新疆栽绒地毯织造历史超过两千年，核心发源地为和田洛浦。我国羊毛栽绒编织雏形最早可追溯至新石器时代西域先民毛纺生产；目前可考证的成熟实物出现于东汉时期。1959年，民丰县尼雅遗址（古精绝国）墓葬出土东汉彩色栽绒地毯残片，伴随出土的佉卢文简牍出现关于地毯交易的文字记录，证实汉晋时期于阗（和田）绿洲已经形成专业化织毯生产，熟练掌握八字栽绒结（森纳结）核心工艺。1983年洛浦县山普鲁古墓出土汉代树纹栽绒鞍毯，进一步佐证洛浦作为技艺发源地的历史地位。

The Uyghur carpet weaving craft originated from the oasis civilization of the Tarim Basin in southern Xinjiang, and archaeological evidence proves that the history of pile carpet weaving in Xinjiang spans more than 2,000 years, with Lop County in Hotan as its core birthplace. The embryonic form of wool pile weaving in China can be traced back to the wool textile production of ancient western regions residents in the Neolithic Age. The earliest verifiable mature physical relics date back to the Eastern Han Dynasty. In 1959, fragments of colourful Eastern Han knotted pile carpets were unearthed from tombs at the Niya Ruins (ancient Jingjue Kingdom) in Minfeng County. Kharosthi wooden slips discovered alongside the relics contain written records of carpet trade, confirming that professional carpet weaving production had taken shape in the Hotan oasis during the Han and Jin dynasties, and local craftsmen had mastered the core technique of figure-eight pile knot (Senna knot). In 1983, a Han-dynasty pile saddle carpet decorated with tree patterns was excavated from the Shanpulu Ancient Tombs in Lop County, further verifying Lop County's historical status as the birthplace of this craft.

依托古丝绸之路商贸通道，西域本土栽绒技艺持续与中原毛纺技术、中亚纹样艺术交融发展。汉文史籍中将西域地毯称为氍毹、罽，《大唐西域记》记载于阗物产包含精美毛织毯，印证唐代和田地毯已经成为丝路重要贸易商品。元代，受游牧文化影响，西域地毯大量输入中原，宫廷设立花毯作坊；明清时期和田、喀什、莎车形成规模化织毯产业集群，地毯不仅是维吾尔民众居家、礼拜必备器物，还经由丝路远销中亚、西亚，工艺体系持续完善，纹样逐步融合绿洲植物、民俗图腾，最终形成区别于其他地域的维吾尔族手工地毯范式。近代以来，洛浦持续传承古法织造，完整保留植物染料染色、手工打结织造整套流程。2008年该项目列入国家级非物质文化遗产名录，千年栽绒技艺以家族传承、师徒传承的形式在南疆延续至今。

Relying on the trade routes of the ancient Silk Road, the indigenous pile weaving techniques of the western regions continuously integrated with wool spinning technology from Central China and pattern art from Central Asia. In ancient Chinese historical records, western region carpets were named qushu and ji. Great Tang Records on the Western Regions recorded that exquisite woollen carpets were among local products of Yutian (Hotan), proving that Hotan carpets had become vital commodities traded along the Silk Road in the Tang Dynasty. Influenced by nomadic culture in the Yuan Dynasty, large quantities of western region carpets were transported to Central Plains, and the imperial court established workshops for ornamental carpets. During the Ming and Qing dynasties, large-scale carpet weaving industrial clusters formed in Hotan, Kashgar and Yarkand. Carpets served not only as daily necessities and worship appliances for the Uyghur people, but also were exported to Central Asia and West Asia via the Silk Road. The craft system kept improving, and its patterns gradually incorporated oasis plants and folk totems, eventually forming the unique handmade Uyghur carpet style distinct from other regional schools. In modern times, Lop County has preserved the ancient weaving methods, retaining the complete procedures of natural plant dyeing and hand-knot weaving. This craft was inscribed on the National Intangible Cultural Heritage List in 2008. The millennia-old pile-weaving technique has been passed down in southern Xinjiang through family inheritance and master-apprentice education to this day.

维吾尔族地毯织造技艺历经两千余年传承，形成区别于国内外其他织毯流派独一无二的完整工艺体系，从原料选择、染色方式、核心织造技法、纹样构图到后期修整，均具备鲜明地域与民族特征。

Having been inherited for more than 2,000 years, Uyghur carpet weaving craft has formed a complete technological system distinctive from other carpet weaving schools at home and abroad. It boasts prominent regional and ethnic features in raw material selection, dyeing methods, core weaving techniques, pattern composition and post-finishing treatment.

第一，原料选材本土化。传统织造优先选用南疆本地绵羊半粗羊毛，该羊毛纤维粗细适中、韧性强、弹性佳、耐磨防潮，适配栽绒打结工艺；匠人会区分羊毛等级，挑选冬季羊毛作为主料，剔除过细绒毛与粗硬杂毛。古法不混用化纤原料，部分高端地毯会少量掺入桑蚕丝提升光泽。第二，采用天然植物染料，坚持先染纱、后织造。匠人就地取材，利用石榴皮、核桃外皮、靛蓝草、茜草、红柳根等天然植物萃取色料，依靠草木本身色素上色。天然染料色调柔和沉稳，历经长时间光照不易剧烈褪色，色彩温润协调；与现代化工染料鲜艳刺眼的效果形成明显区分。染色工序多次浸染、自然阴干，拒绝高温速染，保障色纱品质。

Firstly, raw materials are selected from local sources. Traditional carpets mainly adopt semi-coarse wool of local sheep in southern Xinjiang. The wool fiber features moderate thickness, strong toughness, good elasticity, wear resistance and moisture proof, which perfectly suits knotted pile weaving. Craftsmen classify wool by quality and choose winter wool as primary material while removing ultra-fine fluff and stiff coarse hair. No chemical fiber is used in ancient techniques, and a small amount of mulberry silk may be added to high-grade carpets to enhance luster. Secondly, natural plant dyes are adopted, and yarns are dyed before weaving. Craftsmen extract pigments from local materials including pomegranate peel, walnut husk, indigo, madder and tamarisk root. Natural dyes deliver mild and steady tones, which resist severe discoloration under long-term sunlight, differing sharply from gaudy chemical dyes. Yarns are dipped repeatedly and air-dried naturally instead of high-speed hot dyeing to guarantee quality.

第三，核心工艺为八字栽绒结（森纳结），是该项技艺最标志性特征。工匠在横向纬线之间，将彩色毛线以八字形牢牢捆缚在经线上，每打一个绳结使用剪刀剪断纱线形成独立绒头。该技法最大优势：单个绒头相互独立，地毯局部磨损、破损不会发生大面积脱线，成品结实耐用。不同于波斯结等其他织毯结法，和田体系的八字结打结密度均匀，毯面平整厚实。第四，纹样构图自成体系，拥有成熟的传统符号谱系。地毯构图大多采用中心主纹+边框分层布局，讲究对称均衡。经典纹样包含巴旦木花、羊角纹、石榴纹、藤蔓、几何纹、花卉纹。纹样融合绿洲自然风貌、维吾尔民俗文化，同时吸纳丝绸之路沿线多元艺术元素，画面饱满繁复、色彩对比浓烈，具备强烈视觉辨识度。纹样依靠匠人经验徒手放样，早期不使用精确图纸，依靠口传心授传承图案范式。

Thirdly, the core technique is the figure-eight pile knot (Senna knot), the most iconic feature of this craft. Between horizontal weft threads, craftsmen fasten coloured yarns onto warp threads in a figure-eight shape and cut yarn to form independent pile tufts. The merit of this technique is that each pile tuft stands separately; partial abrasion will not lead to large-scale loose threads, making carpets extremely durable. Distinct from other knot types such as Persian knot, the figure-eight knot of Hotan school ensures uniform knot density and smooth pile surface. Fourthly, it features a unique pattern composition system and mature symbolic vocabulary. Most carpets adopt the layout of central motif surrounded by multi-layered borders with symmetrical balance. Classic patterns cover badam flower, goat horn, pomegranate, vines, geometric and floral motifs. These patterns integrate oasis landscapes and Uyghur folk culture, while absorbing diverse artistic elements along the Silk Road. Pictures are rich and complicated with striking color contrast. In early times, craftsmen laid out patterns relying on experience without precise drawings, and pattern styles were passed down orally.

第五，全流程手工化，工序链条完整。整套工艺包含羊毛分拣、洗毛、梳毛、纺纱、染纱、上机整经、纹样放样、手工打结栽绒、剪绒平整、水洗、晾晒、修整等十余道纯手工工序，全程依靠木制传统织机织造。织机为立式木架结构，匠人需要长时间蹲坐编织，制作一块标准尺寸地毯往往耗费数月工时。第六，后期修整工艺考究。织造完成后，匠人使用专用剪刀手工修剪绒面，调整绒头高度，使毯面平整均匀；随后清水反复冲洗去除浮色与杂质，自然风干，最后手工修整瑕疵。整套工序不依靠机械加工，依靠工匠经验把控成品质感。

Fifthly, the whole production relies on manual work with complete working procedures. The whole process covers wool sorting, washing, carding, spinning, yarn dyeing, warping, pattern marking, hand-knot pile weaving, pile trimming, washing, air-drying and finishing. All work is finished on traditional vertical wooden looms. Craftsmen need to work for months to complete a standard-sized carpet. Sixthly, elaborate post-finishing is required. After weaving, workers trim piles manually to unify pile height and smooth the surface. Carpets are repeatedly rinsed to remove loose pigment, air-dried and manually checked to fix defects. No machinery is applied, and the final texture depends entirely on craftsmen's experience.

维吾尔族手工地毯之上纷繁多样的装饰纹样并非单纯的视觉装饰，而是经过千百年传承积淀形成的视觉文化符号体系，凝聚着南疆维吾尔族群世代相传的价值理念、对自然万物的理解以及朴素美好的精神寄托。各类植物纹样在地毯图案体系中占据核心位置，石榴纹象征家族兴旺、子孙绵延、生生不息；巴旦木花纹寄托着民众祈求平安健康、福寿绵长的心愿；连绵舒展的花卉藤蔓寓意绿洲永续、生机常在。大量几何纹样传承自古代西域先民的游牧图腾文化，循环往复的菱形纹、回纹代表生命周而复始、绵延不绝；羊角纹寄托着百姓期盼畜牧丰收、衣食充裕的愿望；热瓦甫纹、梳子纹、流苏纹等器物纹样，则将维吾尔族民众日常生产生活的景象提炼、简化为装饰图案。整套纹样体系融合绿洲农耕文明与草原游牧文明双重文化基因，同时吸纳古于阗文明、波斯艺术、阿拉伯装饰美学的诸多元素，是古丝绸之路多元文明持续交流融合留下的宝贵文化印记。在漫长历史中，维吾尔族匠人借助地毯纹样传递内心愿景，依托无声的图案完成民族文化的代际传递，地毯也因此演变为承载族群记忆的重要精神载体。

The numerous decorative patterns on Uyghur handmade carpets are not merely visual ornaments, but a visual cultural symbol system accumulated over thousands of years. They embody the values passed down from generation to generation among southern Xinjiang Uyghur communities, people's understanding of nature, and simple and sincere spiritual aspirations. Plant patterns occupy a core position in the pattern system of carpets. The pomegranate pattern symbolizes prosperous families, continuous descendants and eternal vitality; the almond blossom pattern expresses people's wishes for peace, health and longevity; continuous vine and flower patterns represent sustainable oases and endless life. A large number of geometric patterns inherit the nomadic totem culture of ancient Western Regions ancestors. Recurring rhombus patterns and meander patterns stand for cycles of life and eternity; the horn pattern embodies people's expectation of prosperous animal husbandry and sufficient food and clothing. Utensil patterns including rawap patterns, comb patterns and tassel patterns refine and simplify scenes from Uyghur people's daily production and life into decorative motifs. The complete pattern system integrates dual cultural genes of oasis farming civilization and grassland nomadic civilization. Meanwhile, it absorbs many elements from ancient Khotan civilization, Persian art and Arabian decorative aesthetics, serving as precious cultural heritage left by continuous exchanges and integration of diverse civilizations along the ancient Silk Road. Over a long period of history, Uyghur craftsmen conveyed inner visions through carpet patterns, and realized intergenerational inheritance of national culture via silent motifs. Therefore, carpets have evolved into vital spiritual carriers that preserve ethnic memories.

维吾尔族传统手工地毯拥有辨识度极高的艺术特色。在构图布局层面，普遍采用中心主纹样搭配多层边框的经典范式，整体画面均衡对称、饱满厚重。中心区域铺展主体装饰图案，外围环绕多层风格各异的装饰边框，层次分明，秩序感突出，构图注重疏密平衡，大面积底色与错落分布的纹样相互映衬，视觉效果沉稳大气，契合维吾尔族长久以来形成的传统审美取向。在色彩运用方面，传统织造依靠石榴外皮、茜草根、靛蓝草、核桃青皮等天然植物染料进行染色，色调温润厚重，色彩对比鲜明却不浮夸艳俗，藏蓝、赭红、米白、墨绿是最为经典的色彩组合，冷暖色调相互平衡调和。天然染料赋予地毯柔和内敛的色彩质感，相较于现代化工染料，不易在长期光照下快速褪色，拥有独一无二的复古美感。与此同时，独特的八字栽绒打结工艺造就地毯立体的绒面质感，让纹样富有空间层次感。传统匠人大多不机械复刻图纸，依靠经验现场放样织造，使得每一件手工地毯都存在细微的独特变化，不存在两张完全一模一样的作品，赋予手工织物鲜活、不可复制的艺术生命力。

Traditional Uyghur handmade carpets possess highly recognizable artistic characteristics. In terms of composition layout, they generally adopt the classic mode of a central main pattern surrounded by multi-layered borders. The whole picture is symmetrical, balanced, full and solemn. The central area displays main decorative motifs, encircled by multiple decorative borders of different styles with distinct layers and a strong sense of order. The composition pursues a balance between density and sparsity. Large-area base colors set off scattered patterns, creating a calm and grand visual effect, which conforms to the traditional aesthetic orientation formed by Uyghur people over centuries. In terms of color application, traditional weaving adopts natural plant dyes such as pomegranate peel, madder root, indigo and green walnut husk. The hues are mild and profound with striking yet elegant color contrast. Navy blue, ochre red, off-white and dark green are the most classic color combinations, where cold and warm tones coordinate and balance each other. Natural dyes endow carpets with soft and restrained texture. Compared with modern chemical dyes, they resist rapid fading under long-term sunlight and deliver an unparalleled retro aesthetic. Furthermore, the unique figure-eight pile-knotting technique creates three-dimensional pile surfaces of carpets, adding spatial layers to patterns. Most traditional craftsmen do not mechanically copy drawings but lay out patterns on site based on experience. As a result, every handmade carpet bears subtle unique variations. No two identical carpets can be produced, endowing handmade textiles with vivid and irreproducible artistic vitality.

这项织毯技艺具备浓厚且不可复制的南疆地域特征，根植于塔里木盆地边缘独特的绿洲文明，地域自然环境与人文环境共同塑造了技艺的整体面貌。和田、洛浦等核心产区坐落于昆仑山北麓，广阔的山地草场孕育出品质优良的和田绵羊，产出的半粗羊毛为地毯织造提供稳定优质原料；南疆荒野、绿洲中大量野生植物资源，为天然植物染色源源不断提供原材料。作为古丝绸之路南道上的交通枢纽，和田长期处于多元文明交汇地带，中原纺织技艺、中亚波斯织毯艺术与西域本土文化在此相互吸收、融合，逐步发展出区别于土耳其地毯、中亚其他地区织毯的独立艺术风格。南疆常年干燥多风沙，独特气候条件促使地毯成为民众重要生活用具，铺设地面能够隔绝寒气、阻挡尘土，悬挂墙面可以防潮保温，高度适配绿洲民居的居住环境。独特的自然条件、生产方式催生了织毯工艺，织毯也逐渐从一门手工技艺转变为绿洲居民赖以依托的生活必需品，地域属性深深烙印在整套织造技艺之中。

This carpet weaving craftsmanship bears profound and irreproducible southern Xinjiang regional features, rooted in the unique oasis civilization on the edge of the Tarim Basin. The regional natural and cultural environment jointly shapes the overall appearance of the craft. Core production areas such as Hotan and Lop are located at the northern foot of the Kunlun Mountains. Extensive mountain pastures breed high-quality Hotan sheep, whose semi-coarse wool provides stable and premium raw materials for carpet weaving. Abundant wild plant resources in southern Xinjiang's wilderness and oases continuously supply raw materials for natural plant dyeing. As a transportation hub on the southern route of the ancient Silk Road, Hotan has long been a meeting place of diverse civilizations. Central Plains textile techniques, Central Asian Persian carpet art and local Western Regions culture absorbed and integrated with one another, gradually developing an independent artistic style different from Turkish carpets and carpets from other Central Asian regions. Southern Xinjiang features a dry and windy climate all year round. The special climatic conditions make carpets essential daily supplies for local residents. Carpets laid on floors insulate against cold and dust, while those hung on walls prevent moisture and keep warmth, perfectly adapting to the living environment of oasis dwellings. Unique natural conditions and production modes gave birth to carpet weaving, which gradually developed from a handicraft into an indispensable daily necessity for oasis residents. Regional features are deeply imprinted on the whole set of weaving techniques.

地毯深度融入维吾尔族民众的精神信仰与民俗生活，和本土信仰、各类民间习俗有着紧密联系。在维吾尔传统民居当中，地毯是厅堂不可或缺的基础陈设；每逢肉孜节、古尔邦节等重大民族节庆，家家户户都会陈设精致地毯招待来访宾客，充分彰显当地人热情好客的民族品格。在日常宗教礼拜活动里，地毯常被用作拜毯，洁净平整的毯面承载民众的精神诉求，民众普遍将整洁完好的地毯视作内心虔诚的外在表现，由此形成爱护织物、保持洁净的生活习惯。在传统婚嫁习俗中，手工编织地毯是重要陪嫁嫁妆，女方家庭准备手工地毯赠予新人，寓意祝愿新婚家庭安稳和睦、富足美满，承载亲友真挚的祝福。除此之外，地毯还广泛运用于丧葬仪式、民间庆典等各类重要场合。织毯、选购地毯、家中地毯的摆放方式，逐步形成约定俗成的民间规范。地毯早已超越普通生活用品的范畴，成为各类民俗仪式不可或缺的载体，持续维系着维吾尔族世代传承的传统生活礼仪与风俗。

Carpets are deeply integrated into Uyghur people's spiritual beliefs and folk customs, maintaining close connections with local faiths and various folk traditions. In traditional Uyghur residences, carpets are fundamental furnishings in halls. During major ethnic festivals such as Roza Festival and Corban Festival, every household displays exquisite carpets to receive guests, fully reflecting the nation's hospitable character. In daily religious worship activities, carpets are often used as prayer rugs. Clean and flat rug surfaces carry people's spiritual pursuits. Local residents generally regard tidy and intact carpets as external manifestations of inner piety, thus forming a lifestyle of cherishing textiles and maintaining cleanliness. In traditional marriage customs, handwoven carpets serve as important dowries. Bride's families present handmade carpets to newlyweds, wishing the young couple a stable, harmonious and prosperous family, embodying sincere blessings from relatives and friends. In addition, carpets are widely used in funeral rituals, folk celebrations and other important occasions. Rules about carpet weaving, selection and indoor placement have gradually become established folk norms. Far beyond ordinary daily goods, carpets have become indispensable carriers of various folk rituals, continuously sustaining traditional living etiquettes and customs passed down among Uyghur people for generations.

综合来看，维吾尔族地毯织造技艺融合南疆自然环境、丝绸之路多元文明、民间信仰与日常民俗。地毯纹样作为丰富的文化符号，承载着民众的精神向往；独特的构图、色彩体系与手工织造技法构筑起鲜明的艺术特征；南疆独有的绿洲文明孕育出技艺浓厚的地域风格；同时这项手工艺深度嵌入民众各类民俗与信仰活动。维吾尔族手工地毯不只是兼具实用价值与观赏价值的手工艺品，更是记录维吾尔族历史发展、审美观念、精神追求的重要物质载体，是丝绸之路文明交融留存下来弥足珍贵的非物质文化遗产。

To sum up, Uyghur carpet weaving craftsmanship incorporates the natural environment of southern Xinjiang, diverse civilizations along the Silk Road, folk beliefs and daily customs. As abundant cultural symbols, carpet patterns carry people's spiritual aspirations; unique composition, color systems and hand-weaving techniques form distinct artistic characteristics; the exclusive oasis civilization of southern Xinjiang nurtures the strong regional style of the craft. Moreover, this handicraft is deeply embedded in all kinds of folk customs and belief activities of local residents. Uyghur handmade carpets are not only handicrafts with both practical and ornamental value, but also important tangible carriers recording the historical development, aesthetic concepts and spiritual pursuits of the Uyghur people. It is an invaluable intangible cultural heritage preserved by the cultural integration along the Silk Road.