海派文化背景下上海本土手工织绣的发展  

The development of Shanghai hand embroidery under the influence of Shanghai culture

作　　者：胡小燕[1] 温兆阳 许星 HU Xiaoyan;WEN Zhaoyang;XU Xing(College of Textile and Engineering,Soochow University,Suzhou 215123,China;Fine Arts Academy,South-central University for Nationalities,Wuhan 430074,China)

机构地区：[1]苏州大学纺织与服装工程学院,江苏苏州215123 [2]中南民族大学美术学院,武汉430074

出　　处：《丝绸》2018年第4期82-86,共5页Journal of Silk

摘　　要：织绣工艺源远流长,不仅是西方人眼中的非物质文化财富,东方人也对其情有独钟。19世纪下半叶,开埠之初的申城因地理位置优势首先接受到世界风潮,形成了开风气之先的时尚都市文化。上海手工业和工艺美术业在形成之初就孕诞了具有时代特色的海派个性。文章以上海特色的绒线绣、十字绣、钩针编结三类主要织绣工艺为研究对象,运用对比、实例分析研究方法,从题材选择、画面布局、用色分析、功能性分类,来探究在海派文化背景下上海本土织绣工艺的演变。Tapestry embroidery has a long history,which is the wealth of handicraft in the eyes of both Westerners and the Orientals.In the late 19th century,Shanghai was first influenced by the world fashion trend due to its geographic position advantage,and thus urban fashion culture formed.Shanghai handicraft industry and arts and crafts industry were pregnant with the characteristic of Shanghai style at the beginning of its formation.This paper discussed the evolution of Shanghai local embroidery craft under the background of Shanghai culture by taking Shanghai wool embroidery,cross stitch knitting and crochet lace as the objects of study and applying comparison and case study methods from the aspects of theme selection,picture layout,color and function.

关 键 词：织绣 海派文化 工艺美术 顾绣 非物质文化遗产 

分 类 号：TS941.64[轻工技术与工程—服装设计与工程]