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                  <text>3. 刺绣 Embroidery</text>
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                <text>雷山苗衣 Leishan Miao Coat</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------double-twist-knot-st"&gt;缩宝绣为主 Mainly double-twist knot stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------couching-stitch"&gt;绞绣 Couching stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------stack-stitch"&gt;叠绣 Stack stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------applique"&gt;剪贴绣 Applique&lt;/a&gt;，花草纹 Flower and grass pattern，桃子 Peach，石榴 Pomegranate，蝶纹 Butterfly pattern，盘长纹 Shrivatsa pattern</text>
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                <text>（简）苗衣的刺绣部分为红底绿花，即用红色底布和各种绿色丝线，如深绿、浅绿、嫩绿等，是典型的雷山服饰特点。此苗衣运用了缩宝绣、绞绣、叠绣和剪贴绣。缩宝绣和皱绣一样，绣线皆由特殊技法编制而成，再将编制好的丝线盘成一个一个的小圆宝，组合刺绣成各种花鸟和动物图案，令刺绣图案和底布之间形成凹凸感，产生浅浮雕效果。雷山地区服饰常以龙纹为主要图案，而该藏品的图案则以花果纹为主，有桃子、石榴，还有很多花蝶纹。另外在绞绣部分有很多汉族文化的图案，如中国八吉图案——盘长。这反映出苗族在生活中也吸收了很多汉族文化，虽无文字，但苗族妇女仍能用她们擅长的针线记录之。&#13;
&#13;
(ENG) Leishan Miao coat: embroidery with typical Leishan ‘red base and green flower’, which refers to various shades of green threads, such as dark green, light green and tender green, used on top of a red base cloth.  Double-twist knot stitch, couching stitch, stack stitch and appliqué are used. As with wrinkling stitch, the silk thread used for the double-twist knot stitch has to be first woven using a special technique. Woven silk threads are made into small rounded balls, then combined to form various flower, bird and animal patterns. With this bas-relief effect, the embroidery stands out against the flat garment. Leishan area clothing often uses dragon patterns as the main pattern, yet the pattern of this dress is mainly of flowers and fruits, with peaches, pomegranates and various flower and butterfly patterns. For the couching stitch, many patterns derived from the Han culture can be discerned, including the Chinese Baji pattern-Shrivatsa. Such similar patterns reflect that the Miao people have assimilated considerably with Han culture. Although there is no written text in the Miao dialect, Miao women creatively use their exceptional needlework to record their history.  &#13;
&#13;
（繁）苗衣的刺繡部分為紅底綠花，即用紅色底布和各種綠色絲線，如深綠、淺綠、嫩綠等，是典型的雷山服飾特點。此苗衣運用了縮寶繡、絞繡、疊繡和剪貼繡。縮寶繡和皺繡一樣，繡線皆由特殊技法編制而成，再將編制好的絲線盤成一個一個的小圓寶，組合刺繡成各種花鳥和動物圖案，令刺繡圖案和底布之間形成凹凸感，產生淺浮雕效果。雷山地區服飾常以龍紋為主要圖案，而該藏品的圖案則以花果紋為主，有桃子、石榴，還有很多花蝶紋。另外在絞繡部分有很多漢族文化的圖案，如中國八吉圖案——盤長。這反映出苗族在生活中也吸收了很多漢族文化，雖無文字，但苗族婦女仍能用她們擅長的針線記錄之。&#13;
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                <text>晚清 Late Qing Dynasty</text>
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                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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                <text>雷山县西江镇 Leishan County Xijiang Town</text>
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                <text>苗牯藏服 The Miao Dress for Guzang Festival</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------flat-stitch"&gt;平绣 Flat stitch&lt;/a&gt;，蝴蝶纹 Butterfly pattern，苗龙纹 The Miao dragon pattern，脊宇鸟纹 Divine bird pattern，鱼纹 Fish pattern，虫纹 Insect pattern</text>
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                <text>（简）牯藏服通体满绣，刺绣图案大而满，刺绣丝线的色彩对比强烈，鲜艳亮丽。此牯藏服运用了平绣。牯藏服因苗族的「牯藏节」而得名，也有称作「大牛衣」或「百鸟服」。飘带裙下摆坠以无数鸟毛，穿上后犹如美丽的鸟儿穿梭与林间，据说在古代狩猎时有很好的隐蔽功能。牯藏服有男装女装之分，上衣和飘带链为一体为女装，上衣和飘带分开则为男装。&#13;
&#13;
(ENG) Dress for the Guzang Festival: brightly colourly dress, fully embroidered with large and dense patterns using silk threads of contrasting colours. Also known as the ‘big ox coat’ or ‘hundred bird clothing’, this piece is named after the famous Miao people’s Guzang Festival. The hem of the streamer skirt is decorated with countless bird feathers, giving its wearer the appearance of an elegant bird criss-crossing a lush jungle. It is said that in former times, this dress provided good camouflage when hunting. This dress has both male and female versions, with the male version separating its top and the streamers at the bottom, while the female version combines the two into one piece.&#13;
&#13;
（繁）牯藏服通體滿繡，刺繡圖案大而滿，刺繡絲線的色彩對比強烈，鮮豔亮麗。此牯藏服運用了平繡。牯藏服因苗族的「牯藏節」而得名，也有稱作「大牛衣」或「百鳥服」。飄帶裙下擺墜以無數鳥毛，穿上後猶如美麗的鳥兒穿梭與林間，據說在古代狩獵時有很好的隱蔽功能。牯藏服有男裝女裝之分，上衣和飄帶鍊為一體為女裝，上衣和飄帶分開則為男裝。</text>
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                <text>上世纪50年代</text>
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                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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                <text>榕江县月亮山摆贝村 Rongjiang County Moon Hill Baibei Village</text>
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                <text>侗族背扇 The Dong Baby Carrying Belt</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------stem-stitch"&gt;轴绣 Stem stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------knot-stitch"&gt;打籽绣 Knot stitch&lt;/a&gt;，凤凰 Phoenix，龙 Dragon，麒麟，老蛇 Old snake，羊 Sheep，山水 Mountain and lake，太阳 Sun，蝴蝶 Butterfly，鸟 Birds，花 Flowers，房屋 Houses</text>
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                <text>（简）背扇的在深蓝色的边框中绣有大幅红色刺绣，出现了许多的吉祥瑞兽，图案非常热闹，绣出了大自然一派生机盎然的景象。此背扇运用了轴绣和打籽绣。图案中心绣有铜钱和双钩云纹，将动植物上下左右地进行对称分布。另外也运用了不同的色彩和形态进行区分，呈现出了一种对称当中的不对称的视觉感受，构图十分饱满。侗族打籽绣先用丝线先将图案勾绣出轮廓，再用打籽绣技法填充轮廓内部。绣针从背面向正面刺上来后，将针尖在丝线底脚卷上两转，绕成颗粒状小圈，形成一粒籽，周而复始，直到这样的小籽密密麻麻布满整个图案内部，故而得名打籽绣。&#13;
&#13;
(ENG) Dong baby carrying belt: a large piece of red embroidery with dark blue frames. The embroidery pattern vividly portrays a natural scene and is very vibrant with many auspicious beasts. Stem stitch and knot stitch are used. The centre of the pattern is decorated with copper coins and cloud patterns, symmetrically distributing the animals and plants in a vertical, left to right manner. Distinctive colours and shapes create a richly composed asymmetrical yet symmetrical visual experience. For the Dong knot stitch, a silk thread is used to outline the pattern, and then the knot stitch technique is used to fill in the pattern. When making the knot stitch, the needle should be pierced from the back of the fabric to the front, and the tip of the needle looped twice on the bottom of the silk thread to form a small granular circle. This process is repeated until small granular circles densely cover the entire pattern, hence the name ‘knot stitch’. &#13;
&#13;
（繁）背扇的在深藍色的邊框中繡有大幅紅色刺繡，出現了許多的吉祥瑞獸，圖案非常熱鬧，繡出了大自然一派生機盎然的景象。此背扇運用了軸繡和打籽繡。圖案中心繡有銅錢和雙鉤雲紋，將動植物上下左右地進行對稱分佈。另外也運用了不同的色彩和形態進行區分，呈現出了一種對稱當中的不對稱的視覺感受，構圖十分飽滿。侗族打籽繡先用絲線先將圖案勾繡出輪廓，再用打籽繡技法填充輪廓內部。繡針從背面向正面刺上來後，將針尖在絲線底腳卷上兩轉，繞成顆粒狀小圈，形成一粒籽，周而復始，直到這樣的小籽密密麻麻佈滿整個圖案內部，故而得名打籽繡。</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------split-thread-stich"&gt;&lt;/a&gt;&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------flat-stitch"&gt;平绣 Flat stitch&lt;/a&gt;&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------split-thread-stich"&gt;，破线绣 Split-thread stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------couched-braid-stitch"&gt;辫绣 Couched braid stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------applique"&gt;剪贴绣 Applique&lt;/a&gt;，莲花 Water-lily ，石榴 Pomegranate，如意 Ruyi pattern，牡丹花 Peony，鸟 Bird，蝴蝶 butterfly，葫芦 Gourd，花瓶 Vase，钱币 Coin</text>
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                <text>（简）由于年代十分久远，大洋袋下半部分刺绣的底布原本是粉红色，现已褪去露出了底布的本色。此大洋袋运用了破线绣、平绣、辫绣和剪贴绣。刺绣图案分两个部分，大洋袋从中间荷包处划分，上部以破线绣、剪贴绣为主，刺绣出了莲花、石榴、如意，这些图案反映出土家族受汉族文化影响很大；刺绣的重点是下半部分，图案有牡丹花、鸟、蝴蝶、葫芦、花瓶、钱币等图案。鸟的造型与苗族脊宇鸟的形态十分相似，蝴蝶图案也幻化出花的造型，与葫芦相结合。这些图案反映了土家族与苗族长期杂居，形成文化相融的社会形态。&#13;
&#13;
(ENG) Tujia purse: as it was created in the late Qing Dynasty, the base fabric of the lower part of the embroidery, which was originally pink, has faded. Split line stitch, flat stitch, counched braid stitch and appliqué are used. The embroidery is divided into two parts through the middle of the purse. The upper part is mainly embroidered with split line stitches and appliqué to create water lily, pomegranate and Ruyi patterns. These patterns reflect the strong influence of Han culture on the Tujia people. The lower part has a greater focus of embroidery, with patterns including peonies, birds, butterflies, gourd and coins. The shape of the bird is very similar to the shape of the Miao divine bird. The butterfly morphs into a flower shape and is combined with the gourd. The fusion of these patterns reflects the social and cultural integration of Tujia, Miao and Han clans, who have lived together for a long time. &#13;
&#13;
（繁）由於年代十分久遠，大洋袋下半部分刺繡的底布原本是粉紅色，現已褪去露出了底布的本色。此大洋袋運用了破線繡、平繡、辮繡和剪貼繡。刺繡圖案分兩個部分，大洋袋從中間荷包處劃分，上部以破線繡、剪貼繡為主，刺繡出了蓮花、石榴、如意，這些圖案反映出土家族受漢族文化影響很大；刺繡的重點是下半部分，圖案有牡丹花、鳥、蝴蝶、葫蘆、花瓶、錢幣等圖案。鳥的造型與苗族脊宇鳥的形態十分相似，蝴蝶圖案也幻化出花的造型，與葫蘆相結合。這些圖案反映了土家族與苗族長期雜居，形成文化相融的社會形態。</text>
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                <text>土家族 The Tujia</text>
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                <text>晚清 Late Qing Dynasty</text>
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                <text>铜仁市松桃县 Tongren Songtao County</text>
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                  <text>3. 刺绣 Embroidery</text>
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                <text>侗族背心 The Dong Vest</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------satin-stitch"&gt;刺花 Satin stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------flat-stitch"&gt;平绣 Flat stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------counted-thread-stitc"&gt;数纱绣 Counted thread stitch&lt;/a&gt;，龙纹 Drogon pattern，太阳纹 Sun pattern，鸟纹 Bird pattern</text>
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                <text>（简）背心中心的橙黄色刺绣有恍如光芒万丈的视觉冲击，十分夺目抢眼。此背心运用了刺花 、平绣和数纱绣。刺绣部分正面有勾云纹、云纹、太阳纹；另一种纹样待考证，有推测为一种虫纹、螺丝纹或者是龙纹。衣服的反面有5只鸟簇拥着太阳，鸟儿的内部用了平绣刺出各种大小不一的三角形，所有动物造型和纹饰的外部皆布满了如光芒般的刺花。在长达近40年的收藏生涯中，这种服饰只见过这么一件。他们为什么会用这样的刺绣去表现？这样的图案诞生于何时？是个人创做还是图案技法的传承与消亡？图案又代表着什么含义？这件服饰折射出太多的疑问留给我们。&#13;
&#13;
(ENG) Dong vest: visually stunning and almost blinding central radiant orange- yellow embroidery. Satin stitch, flat stitch and counted thread stitch are used. The front embroidery features Chinese cloud and sun patterns as well as an as yet unverified pattern. Some speculate it might be an insect pattern, while others speculate it to be a swirl or even a dragon pattern. On the back, the sun is surrounded by five birds. The inner part of the birds are embroidered with different triangular patterns using flat stitch. All the outliers of the animals and patterns are covered with embroidery resembling rays of light, creating a stunning visual effect. Over the last 40 years, we have only seen one similar piece of clothing. Why do creators choose to use this kind of embroidery to express their thoughts, and when were such embroidery patterns created? What does the embroidery symbolize? With its unique pattern and technique, is this piece unique or [does it represent a greater inheritance and death]? There are still so many questions yet to be answered.  &#13;
&#13;
（繁）背心中心的橙黃色刺繡有恍如光芒萬丈的視覺衝擊，十分奪目搶眼。此背心運用了刺花 、平繡和數紗繡。刺繡部分正面有勾雲紋、雲紋、太陽紋；另一種紋樣待考證，有推測為一種蟲紋、螺絲紋或者是龍紋。衣服的反面有5隻鳥簇擁著太陽，鳥兒的內部用了平繡刺出各種大小不一的三角形，所有動物造型和紋飾的外部皆佈滿瞭如光芒般的刺花。在長達近40年的收藏生涯中，這種服飾只見過這麼一件。他們為什麼會用這樣的刺繡去表現？這樣的圖案誕生於何時？是個人創做還是圖案技法的傳承與消亡？圖案又代表著什麼含義？這件服飾折射出太多的疑問留給我們。</text>
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                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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                <text>贵州黔东南苗族侗族自治州黎平县岩洞镇或九潮镇 Guizhou Qiandongnan Miao and Dong Autonomous Prefecture Liping County Yandong Town or Jiuchao Town</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------double-thread-chain-"&gt;双针锁绣 Double-thread chain stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------counted-thread-stitc"&gt;数纱绣 Counted thread stitch&lt;/a&gt;</text>
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                <text>（简）背扇上饰有大片的深红色刺绣，红色寓意多福吉利，十分活泼欢欣。此背扇运用了双针锁绣和数纱绣。刺绣图纹由紧密排列的八边形和矩形组成，十分对称工整。几何图形内亦绣满浅橙色的绣纹，令整幅刺绣更有立体感。亻革家属于苗族的一个分支，蜡染和刺绣都特别工整细腻，喜用排列的几何纹来布局刺绣和蜡染图案，非常具有想象力和创造力。&#13;
&#13;
(ENG) Gejia baby carrying belt: decorated with a large piece of crimson embroidery with different shades of red symbolizing good luck and giving a sense of liveliness to the carrying belt. Double thread chain stitch and counted thread stitch are used. The embroidery pattern comprises neatly arranged symmetrical octagons and rectangles. Each geometric shape is then filled with light orange embroidery, creating a three dimensional effect. The Gejia belong to a branch of the Miao, and they are renowned for their neat and exquisite batik and embroidery. With imagination and creativity, they like to use arranged geometric patterns to lay out patterns for embroidery and batik. &#13;
&#13;
（繁）背扇上飾有大片的深紅色刺繡，紅色寓意多福吉利，十分活潑歡欣。此背扇運用了雙針鎖繡和數紗繡。刺繡圖紋由緊密排列的八邊形和矩形組成，十分對稱工整。幾何圖形內亦繡滿淺橙色的繡紋，令整幅刺繡更有立體感。亻革家屬於苗族的一個分支，蠟染和刺繡都特別工整細膩，喜用排列的幾何紋來佈局刺繡和蠟染圖案，非常具有想像力和創造力。</text>
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                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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                <text>黄平县重安镇 Huangping County Chongan Town </text>
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                <text>苗族绣花衣 The Miao Embroidered Coat</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------couched-braid-stitch"&gt;辫绣 Couched braid stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------crossing-stitch"&gt;挑花 Crossing stitch&lt;/a&gt;，人物 Human figure，建筑 Architecture，蝴蝶妈妈 Butterfly mother，花草 Flower and grass</text>
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                <text>（简）花衣整体为黑色，刺绣则用红色底布和各种绿色丝线，如深绿、浅绿、嫩绿等，俗称红底绿花，以强烈的对比色来衬托服饰色彩的艳丽。此花衣运用了辫绣和挑花。主要的刺绣图案为双龙纹，龙头幻化成鸟头或锦鸡的头。双龙所簇拥着的是一栋房屋，房屋图案虽简单，屋檐却十分形象传神。房屋里还有一个人物造型，人物下方是一只幻化成花的蝴蝶妈妈，形态生动可爱，寓意着庇护着苗族的先祖们。&#13;
&#13;
(ENG) Miao embroidered coat: predominantly black with embroidered silk threads in various shades of green (eg: dark green, light green, leaf green) on top of a red base cloth. This combination is commonly known as ‘red base with green flowers’, and makes use of strong complementary colours to add visual interest. The main pattern is the double dragon pattern. The dragon head is transformed into the head of a bird or a golden pheasant. The double dragon is surrounding a house. Although the house pattern is simple, the eaves are vivid and lively. There is a human figure inside the house. Below the figure is Mais Bangz Mais Lief (Mother Butterfly) turning into a flower. Mother Butterfly is vivid and endearing, and she symbolises the ancestors who shelter the descendants of the Miao people. &#13;
&#13;
（繁）花衣整體為黑色，刺繡則用紅色底布和各種綠色絲線，如深綠、淺綠、嫩綠等，俗稱紅底綠花，以強烈的對比色來襯托服飾色彩的艷麗。此花衣運用了辮繡和挑花。主要的刺繡圖案為雙龍紋，龍頭幻化成鳥頭或錦雞的頭。雙龍所簇擁著的是一棟房屋，房屋圖案雖簡單，屋簷卻十分形像傳神。房屋裡還有一個人物造型，人物下方是一隻幻化成花的蝴蝶媽媽，形態生動可愛，寓意著庇護著苗族的先祖們。</text>
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                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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                <text>贵州黔东南苗族侗族自治州雷山县 Guizhou Qiandongnan Miao and Dong Autonomous Prefecture Leishan County </text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------satin-stitch"&gt;侗族刺花 The Dong satin stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------flat-stitch"&gt;平绣 Flat stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------counted-thread-stitc"&gt;数纱绣 Counted thread stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------crossing-stitch"&gt;挑花 Crossing stitch&lt;/a&gt;，菱形图案Rhombic pattern，冰花纹 Ice flake pattern</text>
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                <text>（简）花衣整体为黑色，对称的菱形平均分布，佐以袖口和下摆的刺绣，朴素大方。此花衣运用了侗族刺花 、平绣 、数纱绣和挑花。菱形的中心饰有一个圆形，里面绣上了彩色的对称图纹，深具巧思，在黑白中添上色彩。侗族刺绣常见于广西、湖南、贵州等地区，为侗族妇女世代相传的传统技艺。侗绣体现了他们宽厚柔和的民族性格，用色规范，花纹细密玲珑，恬美雅致，别具风韵。&#13;
&#13;
(ENG) Flower costume: predominantly black with embroideries on the cuffs and hem and equally distributed symmetrical thombuses. Dong satin stitch, flat stitch, counted thread stitch and crossing stitch are used to create a plain yet graceful costume. A circle, within which there are colourful symmetrical patterns, is decorated at the centre of each rhombus. Dong satin stitch is commonly found among the Guangxi, Hunan and Guizhou areas. It is a traditional craft Dong women pass down from generation to generation. Dong satin stitch embodies the Dong’s generous and gentle ethnic personality and uses traditional colour patterns. Patterns stitched are exquisite and elegant and have a unique charm.&#13;
&#13;
（繁）花衣整體為黑色，對稱的菱形平均分佈，佐以袖口和下擺的刺繡，樸素大方。此花衣運用了侗族刺花 、平繡 、數紗繡和挑花。菱形的中心飾有一個圓形，裡面繡上了彩色的對稱圖紋，深具巧思，在黑白中添上色彩。侗族刺繡常見於廣西、湖南、貴州等地區，為侗族婦女世代相傳的傳統技藝。侗繡體現了他們寬厚柔和的民族性格，用色規範，花紋細密玲瓏，恬美雅緻，別具風韻。&#13;
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                <text>雷山古苗衣 Leishan Old Miao Coat</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------flat-stitch"&gt;平绣 Flat stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------stack-stitch"&gt;叠绣 Stack stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------counted-thread-stitc"&gt;数纱绣 Counted thread stitch&lt;/a&gt;，石榴 Pomegranate，桃子 Peach，由蝴蝶变形而成的花纹 Butterfly-transformed flower pattern</text>
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                <text>（简）苗衣色彩鲜明，在红色底布上绣上青蓝、鹅黄、粉红等亮色，用色大胆、夺目活泼。此苗衣运用了平绣、叠绣和数纱绣。刺绣图案有水果和各种变形为花纹的蝴蝶，十分具想像力和创造力。 《枫木歌》描述道：从树心里生出「妹榜妹留」，妹榜妹留指的就是蝴蝶。蝴蝶逐渐长大，生下十二个蛋，由脊宇鸟抱了16年，孵出了雷公、水龙、老虎、水牛、蜈蚣、老蛇和苗族的祖先——姜央。蝴蝶纹代表苗族祖先，可见制作者表达了对祖先的崇敬与缅怀。&#13;
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(ENG) Leishan old Miao coat: red base cloth with embroidered bright colours including blue, yellow and pink. The colours used are lively, bold and eye catching. Flat stitch, stack stitch and counted thread stitch are used. The imaginative and creative embroidered patterns include fruits and butterflies metamorphosed as flower patterns. Maple Song states: Mais Bangx Mais Lief (Mama butterfly) was born from the pith of a tree. Mais Bangx Mais Lief refers to a butterfly which gradually grew and laid twelve eggs which were then cared for by the Divine Bird for 16 years. Thunder god, water dragon, tiger, buffalo, centipede, old snake and the ancestor of the Miao, Jiang Yang, hatched from the eggs. The butterfly pattern represents the Miao’s ancestry and cultural heritage and expresses the crafter’s respect for and remembrance of their ancestors.&#13;
&#13;
（繁）苗衣色彩鮮明，在紅色底布上繡上青藍、鵝黃、粉紅等亮色，用色大膽、奪目活潑。此苗衣運用了平繡、疊繡和數紗繡。刺繡圖案有水果和各種變形為花紋的蝴蝶，十分具想像力和創造力。 《楓木歌》描述道：從樹心裡生出「妹榜妹留」，妹榜妹留指的就是蝴蝶。蝴蝶逐漸長大，生下十二個蛋，由脊宇鳥抱了16年，孵出了雷公、水龍、老虎、水牛、蜈蚣、老蛇和苗族的祖先——姜央。蝴蝶紋代表苗族祖先，可見製作者表達了對祖先的崇敬與緬懷。</text>
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                <text>晚清 Late Qing Dynasty</text>
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                <text>雷山县西江镇 Leishan County Xijiang Town</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------horsetail-stitch"&gt;马尾绣 Horsetail Stitch&lt;/a&gt;，蝴蝶花 Butterfly flower，太阳花 Sunflower，石榴 Pomegranate，锦鸡 Pheasant，寿字纹 Shou pattern</text>
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                <text>（简）背带的刺绣构图紧密，排列对称，做工十分精细。此背带运用了马尾绣。水族人称马尾绣为「歹结」，取马的尾巴并缠上白色丝线，做成特殊绣线。勾勒出刺绣图案的轮廓后，再在其图案里采用平绣、辫绣、挑花、跳针、乱针等刺绣技法进行图案的填充和美化。每件背带的制作都相当耗时耗工，蝴蝶与石榴图案的组合寓意多子多福，福寿连绵，代表着长辈对刚出生的新生命美好的祝福和祈愿。&#13;
&#13;
(ENG) Sui horsetail stitch baby carrying belt: densely packed embroidery in an orderly and symmetrical fashion, showing exceptional workmanship. Horsetail stitch is used. Known by the Sui as the ‘evil knot’, horsehair from a horse’s tail is entangled with white threads to create a special embroidery thread. This thread is used to outline the embroidery pattern, and then the centre is filled and decorated with beautiful patterns using other embroidery techniques such as flat stitch, couched braid stitch, crossing stitch, slip stitch and disorder stitch. The creation of each baby carrying belt is extremely time consuming and laborious. Each belt symbolises fecundity, auspiciousness and longevity. The butterfly and pomegranate patterns symbolise fecundity, auspiciousness and longevity and is an expression of the hopes and wishes of the older generation for the next generation.&#13;
&#13;
（繁）背帶的刺繡構圖緊密，排列對稱，做工十分精細。此背帶運用了馬尾繡。水族人稱馬尾繡為「歹結」，取馬的尾巴並纏上白色絲線，做成特殊繡線。勾勒出刺繡圖案的輪廓後，再在其圖案裡採用平繡、辮繡、挑花、跳針、亂針等刺繡技法進行圖案的填充和美化。每件背帶的製作都相當耗時耗工，蝴蝶與石榴圖案的組合寓意多子多福，福壽連綿，代表著長輩對剛出生的新生命美好的祝福和祈願。</text>
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                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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                <text>贵州黔南布依族苗族自治州三都水族自治县 Guizhou Qiandongnan Miao and Dong Autonomous Prefecture Sandu Shui Autonomous County</text>
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