绣画追求与针绣技艺协同——略论明清闺阁顾绣的针法与绣法  

Pursuit of Embroidery Paintings in Synergy with Needlework Skills

作　　者：徐勤 

机构地区：[1]不详

出　　处：《上海工艺美术》2024年第1期13-15,共3页Shanghai Arts & Crafts

摘　　要：明清时期,顾绣闺阁绣画(以下简称顾绣绣画)针绣技艺的内核,首先是“运灵明于针与指之间”;其次是针法、绣法等技艺手段的运用协同。“运灵明于针与指之间”,是丁佩《绣谱》对顾绣技艺运用的高度归纳。其意一,是执绣者胸有成竹在先;这包括顾氏家族女眷及传承人群对绣画品质的理解和追求,自身诗、书、画修养的养成,针绣技艺的常年积累,乃至个人针黹见解的确立等,是所谓“艺之巧拙因乎心”(丁佩)。第二,不尚按图索骥式的针绣技艺应用,主张运针、营绣由心导向,依需而用,不预设桎梏,所谓“岂能执行迹以求哉”(丁佩)。With Gu Embroidery paintings handed down from the late Ming Dynasty to Daoguang Period of the Qing Dynasty,Han Ximeng and other masters of Gu Embroidery in Songjiang Prefecture as the research objects,with Ding Pei's Embroidery Book as the theoretical basis,this article reviews the over all artistic pursuit of Gu Embroidery paintings and the leading role of the comprehensive quality of the embroiders on needlework skills.

关 键 词：闺阁绣 绣画 胸有成竹 丁佩 灵明 协同 明清 

分 类 号：TS935.1[轻工技术与工程] J523.6[艺术—艺术设计] K248[历史地理—历史学]