肖神、寄意与创新——18至20世纪初广绣中的花鸟纹样探析  

Naturalism, Symbolism and Innovation: An Analysis of Flower-and-Bird Patterns in Canton Embroidery from the 18th to the Early 20th Century

作　　者：帅倩 Shuai Qian

机构地区：[1]广州博物馆

出　　处：《艺术与民俗》2024年第1期81-90,共10页Journal of Arts and Folklore

摘　　要：18至20世纪初,广绣中的花鸟纹样以其独特的艺术成就与表现力,使之成为珍贵的贡品,甚至成为世界认识中国的文化符号。以往学界对广绣的研究多为对针法的描述,对花鸟纹样的技艺成就与演变发展并未给予足够关注。通过对广州博物馆藏18至20世纪初百余件花鸟纹样广绣的分析可知,在刺绣技法上,广绣中的花鸟纹样虽延续了我国传统刺绣技艺,但其多变的针法、精巧的构图及精妙的设色让广绣中的花鸟纹样神形毕肖;在艺术内涵上,广绣中的花鸟纹样具有更加务实的审美意识,体现了岭南人民对美好生活的向往与追求,散发着浓郁的岭南风韵;在发展创新上,中西方多元的文化元素让广绣中的花鸟纹样成为东西方艺术与文化融合的载体,呈现出风格各异、情调相殊的多元之美。From the 18th to the early 20th century, flower-and-bird patterns in Canton embroidery, with their unique artistic achievements and expressive power, not only elevated Canton embroidery to precious tribute items in the imperial court but also became cultural symbols that introduced China to the world. Previous scholarship has primarily focused on its stitching techniques, while the artistic achievements and evolution of the flower-and-bird motifs have not received sufficient attention. Through the analysis of over a hundred flower-and-bird patterns in Canton embroidery from the Guangzhou Museum, it is evident that, while inheriting traditional Chinese embroidery techniques, flower-and-bird patterns in Canton embroidery showcase intricate stitching, skillful compositions, and exquisite coloring, creating vivid and lifelike designs. The artistic connotations of these motifs in Canton embroidery reflect a pragmatic aesthetic consciousness, embodying the aspirations and pursuit of a better life for Lingnan people and exuding a rich charm of Lingnan style. In terms of innovative development, the diverse cultural elements from both Eastern and Western traditions turn flower-and-bird patterns in Canton embroidery into a medium for integrating Eastern and Western art and culture,presenting a diverse beauty with distinct styles and unique charm.

关 键 词：广绣 花鸟 多元重塑 纹样 针法 

分 类 号：J523.6[艺术—艺术设计]