The other side was embroidered with "tulou foundation patterns + black-awning boat oar patterns." The youngsters could spread the kit over Qiang cloth, embroider along the patterns with woolen yarn, then sew it into a "Diaolou Qiang embroidery tapestry," retaining the Qiang people's simple, rustic texture while incorporating the marks of global patterns. Hu Fei tried embroidering himself, using his saber sheath instead of a needle and dipping it into woolen yarn mixed with rammed-earth powder. He embroidered along the interwoven paths of the "ram's-horn floral pattern" and "saber-scar curves," and a design of "saber light reflecting embroidered patterns" immediately emerged on the Qiang cloth. The diaolou stone patterns were outlined in dark thread, creating an artistic conception of "hard stone and soft embroidery, protection and coexistence" alongside the embroidered patterns. He said with a smile, "Hung inside a diaolou, this tapestry has both the mountain village's bold spirit and the keen edge of saber light. It truly represents 'Qiang culture across civilizations.'" These "Diaolou Qiang embroidery tapestries" later became "tokens of protection" for educational visits to the Qiang village. Visitors could learn embroidery from Aga and listen to Mba explain what diaolou stone patterns and rainforest vine patterns had in common—"both protect the home at their core by intertwining with one another." Three, a Qiang upgrade for digital technology: letting AR "reveal Qiang history." Lina and Nikos optimized the "Pattern Tracking" technology for the mountainous environment of Qiang mountain villages and developed the "Qiang Diaolou AR Glasses": scanning the "diaolou diamond-shaped masonry pattern" with the glasses brought up an animated defense simulation showing the defensive upgrades of diaolou across different dynasties, with every change in the stone patterns corresponding to a strategy for responding to foreign invasion; scanning the "Qiang embroidery sun, moon, and ram's-horn pattern" displayed an animation of Hu Fei demonstrating the "Diaolou Guardian Steps," overlaid with Hua'an's "Tulou Reunion Steps" and Shaoxing's "Black-Awning Boat Sailing Steps," allowing the youngsters to see directly the "shared resonance of protection in global patterns." Hu Fei also proposed adding "saber-technique AR embroidery analysis": scanning a Qiang embroidery pattern brought up embroidery-thread paths marked with lines of saber light, and tapping different patterns let users hear the corresponding stories of blessings, such as the "ram's-horn floral pattern" explaining the history of coexistence between the Qiang people and sheep. Aga learned embroidery through AR and mastered embroidering the "sun and moon pattern" in just three days. He marveled, "It's like Young Hero Hu is holding my hand and teaching me to embroider. I can even follow the saber light to get the force of every stitch right. Only now do I understand what Mamu meant by 'embroidering Qiang clothing is embroidering faith'!" Four, a moment of protection at the Qiang village pattern festival: saber light reflected on diaolou. To bring Qiang patterns to the world, the Pioneer Team, the Qiang mountain village, and Hu Fei jointly held the "Sichuan Qiang Diaolou Qiang Embroidery Pattern Festival." On the day of the festival, the Qiang village's diaolou plaza bustled with activity: the youngsters wore traditional Qiang clothing—the boys wore sheepskin jackets and fox-fur hats, while the girls wore embroidered skirts and waist sashes—and practiced the "Qiang Village Home-Guarding Fist" before the diaolou, moving with the "Diaolou Guardian Steps"; Aga led everyone in embroidering a giant "sun, moon, and ram's-horn pattern" onto Qiang cloth with woolen yarn, while Hu Fei used saber light to trace a "diamond-shaped masonry pattern" on the projection on the diaolou wall, the two intertwining into a magnificent design of "stone patterns encircling the diaolou, embroidered patterns reflecting the homeland"; Hu Fei stood at the lookout opening on the diaolou's highest floor, holding the Cold Moon Saber and practicing the "Stone Blade Embroidered Soul" form beneath the setting sun, his saber light reflecting the diaolou's stone patterns and the colorful threads of Qiang embroidery, like "a wandering hero protecting the Qiang homeland"; through live video links, the Global Pattern Service Station showcased their respective "protective patterns": Fujian Hua'an sent images of "tulou patterns reflecting the clan," Zhejiang Shaoxing showed scenes of "oar patterns reflecting the water towns," and the Congo Rainforest service station used AR technology to project "vine patterns" onto the diaolou wall, forming a "global pattern protection picture." Before they left the Qiang village, Mamu gave Muhammad a Qiang-cloth handkerchief embroidered with "diaolou stone patterns + Qiang embroidery patterns." Its edges were also inlaid with fragments of Snow Mountain Cold Iron gifted by Hu Fei and pieces of Hua'an rammed earth: "This handkerchief has absorbed the scent of the mountain village's wool,"
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