Three replicas of yunjin (brocade) dragon robes worn by emperors from the Qing Dynasty (1644-1911) were showcased at the MGM hotel Shanghai. The craftsman Dai Jian introduced the techniques of making yunjin, the silk fabric reserved exclusively for imperial use in ancient China.

Yun, means clouds and jin means brocade. The fabric has an iridescent sheen owing to its unique weaving technique and refined raw material. The techniques were passed down from generation to generation within the family of select artisans.

In 2009, the craftsmanship of Nanjing yunjin brocade was included on UNESCO's intangible cultural heritage list.

Dai is one of the inheritors of the intangible cultural heritage.

"Yunjin brocade is not a craft, but an integration of the essence of Chinese brocade craftsmanship throughout history," Dai said.

Among the top four famous silk brocades in China (the others are shujin from Sichuan province, songjin from Suzhou in Jiangsu province, and zhuangjin from the Guangxi Zhuang autonomous region), yunjin has a history of more than 1,600 years.

It was used by the imperial family during the Yuan (1271-1368), Ming (1368-1644) and Qing (1644-1911) dynasties.

According to Dai, the traditional weaving process of yunjin still cannot be replaced by machines and is very complex, requiring multiple processes and advanced skills, including dyeing, thread cutting, and embroidery.

Meanwhile, the materials used in yunjin brocade are unique and valuable, such as mulberry silk, gold, and silver thread, resulting in an extremely high collecting value.

"Silk, as a type of protein fiber, is not easily preserved over a long time. Yunjin involves more processes. Therefore, even though there are many varieties of yunjin brocade in history, only a few have been passed down to today," Dai said.

In addition, the profound cultural connotations contained in yunjin brocade make it even more precious.

"Most of the time, yunjin was exclusively used for the imperial family, with patterns such as dragons, phoenixes, river cliffs, and water that reflect imperial culture. At the same time, folk yunjin brocade has successfully developed auspicious cultures such as flower and fruit patterns, forming a unique system of brocade culture and art," Dai introduced.

"We often talk about repairing cultural relics, but silk cannot be combined with the original material and can only be passed down through replication," Dai said, "In order to make these excellent works visible to more people, I have been committed to researching and weaving yunjin brocade and ancient silk relics."

After graduating from the Suzhou Silk Institute of Technology in 1982, Dai began to deeply cultivate the weaving principles and techniques in Nanjing Yunjin Research Institute.

Later in 2010, Dai established a company in Nanjing, engaging in the research, replication, development, and weaving of yunjin and ancient silk varieties.

Even now, he still works six days a week on the front line of inheritance.

Dai has rewoven the imperial yunjin relics from the Palace Museum, the sha (plain gauze) gown from the Mawangdui, a tomb of the Western Han Dynasty (206 BC-AD 24), as well as imperial edicts and other cultural relics from the China National Silk Museum and the Suzhou Silk Museum.

He has also been invited by the Korea National University of Cultural Heritage to reweave silk relics unearthed in South Korea.

"As an inheritor of yunjin, I have the mission of inheriting and popularizing China's excellent traditional culture," Dai said.

During the years interacting with yunjin brocade, he also discovered more possibilities.

"Yunjin brocade has a wide range of applications in clothing and accessories, such as cheongsam or qipao, wedding garments, and handbags," said Dai, "It also can be used for decoration. And with the revival of this culture, it will have more application scenarios."

Inheritance has always been a top priority of intangible cultural heritage, and the lack of inheritors has always been a sore point and obstacle for all cultural heritage.

"With the development of modern technology and changes in people's lifestyles, young people have less interest in traditional handicrafts, which requires a long period of learning and practicing. Therefore, they are rarely willing to be inheritors," Dai pointed out.

But Dai never gave up and kept finding new ways to attract more young people.

"We can establish a scientific mechanism for selecting inheritors to screen and train eligible young people. Meanwhile, we can establish a comprehensive system for inheriting skills, making it easier for new learners to master the traditional handicraft skills," Dai said.

"In addition, improving the commercial value and opportunities of yunjin products will also attract more people to participate in this niche but crucial industry," he added.

The exhibition at the MGM hotel Shanghai is part of the M CULTURE Cultural Promotion Program launched by MGM Hospitality, aiming to facilitate the revitalization of traditional Chinese culture and becoming a cultural bridge between China and the United States.