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                  <text>3. 刺绣 Embroidery</text>
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                <text>革一苗衣 Geyi Miao Coat</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------knot-stitch"&gt;打籽绣 Knot stitch&lt;/a&gt;</text>
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                <text>（简）苗衣的整体为深棕色，色调暗沉，刺绣则采用了米色、橙色、粉绿色和紫红色的丝线制作，集中在领子、肩部和袖子，古朴典雅，低调而不失美感。此苗衣运用了打籽绣。打籽绣是一种将绳打结以呈现图案立体感的手法，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) Geyi Miao coat: dark brown with embroideries concentrated at the collar, shoulder and sleeves. The embroideries use beige, orange, pink, green and fuchsia silk threads. The overall design is graceful, humble and aesthetically pleasing. Knot stitch is used. Knot stitch is a technique of knotting threads to present patterns in a three-dimensional manner. Firstly, silk threads are used to outline the pattern. Then, knot stitch techniques are used to fill in the pattern. When stitching, the needle should be pierced from the back of the fabric to the front.  The tip of the needle should be looped twice at the end of the silk thread to make small granular circles, which are then used to form knots. This process is repeated until the many small knots densely fill the entire pattern.&#13;
&#13;
（繁）苗衣的整體為深棕色，色調暗沉，刺繡則採用了米色、橙色、粉綠色和紫紅色的絲線製作，集中在領子、肩部和袖子，古樸典雅，低調而不失美感。此苗衣運用了打籽繡。打籽繡是一種將繩打結以呈現圖案立體感的手法，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>苗族 The Miao</text>
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                <text>民国 Republic of China</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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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>#718</text>
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                <text>台江县革一镇 Taijiang County Geyi Town</text>
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                  <text>3. 刺绣 Embroidery</text>
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                <text>剑河锡绣苗衣 Jianhe Metal Gimp Stitch Miao Costume</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------metal-gimp-stitch"&gt;锡绣 Metal gimp stitch&lt;/a&gt;</text>
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                <text>（简）苗衣整体为黑色，领子的刺绣以采用了沉实的紫色，较简约大气。苗衣的背面有一幅白色刺绣，连接着领子，饰以长流苏，成为整件苗衣的亮点。苗衣运用了锡绣。锡绣先把锡箔片裁成细小的长条，再在底布上构成图案。刺绣图案上连续的几何纹紧密排列，没有尽头，有连绵不绝的寓意。刺绣的构图对称，绣纹均匀分布，工整细致，可见制作者的认真态度和高超技艺。 &#13;
&#13;
(ENG) Jianhe metal gimp stitch Miao costume: black with elegant purple embroidered collar.  The highlight of this piece is the white embroidery stitched on the back, which is decorated with long tassels and connects to the collar. Metal gimp stitch is used. Metal gimp is cut into small rectangular strips, which are then used to create patterns on the base cloth. Continuous geometrical patterns on the embroideries are tightly arranged and give a visual impression of eternity, with an implied meaning that good luck is everlasting. Composition of the intricately stitched embroidery is symmetrical and evenly distributed over the garment, and displays exceptional craftsmanship. &#13;
&#13;
（繁）苗衣整體為黑色，領子的刺繡以採用了沉實的紫色，較簡約大氣。苗衣的背面有一幅白色刺繡，連接著領子，飾以長流蘇，成為整件苗衣的亮點。苗衣運用了錫繡。錫繡先把錫箔片裁成細小的長條，再在底布上構成圖案。刺繡圖案上連續的幾何紋緊密排列，沒有盡頭，有連綿不絕的寓意。刺繡的構圖對稱，繡紋均勻分佈，工整細緻，可見製作者的認真態度和高超技藝。 </text>
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                <text>苗族 The Miao</text>
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                <text>民国 Republic of China</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>#701</text>
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                <text>凯里市剑河县南寨乡 Kaili Jianhe County Nanzhai Village</text>
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                  <text>3. 刺绣 Embroidery</text>
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                <text>小花苗披肩 The Xiaohua Miao Shawl</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------crossing-stitch"&gt;挑花 Crossing stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------splicing-stitch"&gt;镶拼 Splicing stitch&lt;/a&gt;</text>
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                <text>（简）披肩主要采用了红色和黄色的丝线，鲜明夺目，再用较深色的丝线衬托，如深绿色和酒红色。苗族妇女喜欢用鲜艳的色调，如红色和黄色调，佐以白色和黑色作为点缀。此披肩运用了挑花和镶拼。刺绣图案主要为几何纹样，这些古老的几何图案如今还常出现于苗族、侗族的织锦服饰中，让我们窥见其民族的悠久历史的深远。他们延续的生产生活方式，对继承和延续中国传统文化符号起着不容忽视的作用。 &#13;
&#13;
(ENG) Xiaohua Miao shawl: striking red and yellow threads on top of darker coloured threads such as dark green and burgundy. Miao women like to use bright colours, such as red and yellow with white and black accents. Crossing stitch and splicing stitch are used. The patterns are mainly geometrical, and these patterns often appear in Miao and Dong brocade and clothing. The unchanged production mode and lifestyle of the Miao and Dong play an important role in the inheritance and continuation of traditional Chinese cultural symbols. &#13;
&#13;
（繁）披肩主要採用了紅色和黃色的絲線，鮮明奪目，再用較深色的絲線襯托，如深綠色和酒紅色。苗族婦女喜歡用鮮豔的色調，如紅色和黃色調，佐以白色和黑色作為點綴。此披肩運用了挑花和鑲拼。刺繡圖案主要為幾何紋樣，這些古老的幾何圖案如今還常出現於苗族、侗族的織錦服飾中，讓我們窺見其民族的悠久歷史的深遠。他們延續的生產生活方式，對繼承和延續中國傳統文化符號起著不容忽視的作用。 </text>
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                <text>清代 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>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------crossing-stitch"&gt;挑花 Crossing stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------splicing-stitch"&gt;镶拼 Splicing stitch&lt;/a&gt;</text>
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                <text>（简）坎肩的主线条红黄相间，佐以较深色的幼线条，如深绿色和黑色，衬托酒红色的刺绣图案。此坎肩运用了挑花和镶拼。刺绣图案主要为几何纹样，有正方形、矩形和十字形。坎肩的用色和构图十分巧妙，虽然红色和黄色较为鲜明抢眼，制作者的设计却没有让这两种鲜色喧宾夺主，把空间留给设计繁复的刺绣图案。&#13;
&#13;
(ENG) Miao waistcoat: alternating stripes of red and yellow, accompanied by darkly-coloured thin lines such as dark green and black, which sets off the burgundy embroidery pattern. Crossing stitch and splicing stitch are used. Embroidery patterns are mainly geometric, such as squares, rectangles and crosses. Colour and composition are carefully created in this waistcoat. Although the red and yellow colours are visually stunning, the creator did not let these two colours dominate and overshadow the embroideries, with space left for the complicated embroidery patterns. &#13;
&#13;
（繁）坎肩的主線條紅黃相間，佐以較深色的幼線條，如深綠色和黑色，襯托酒紅色的刺繡圖案。此坎肩運用了挑花和鑲拼。刺繡圖案主要為幾何紋樣，有正方形、矩形和十字形。坎肩的用色和構圖十分巧妙，雖然紅色和黃色較為鮮明搶眼，製作者的設計卻沒有讓這兩種鮮色喧賓奪主，把空間留給設計繁複的刺繡圖案。 </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>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------crossing-stitch"&gt;挑花 Crossing stitch&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------splicing-stitch"&gt;镶拼 Splicing stitch&lt;/a&gt;，几何纹 Geomatry pattern，双勾云纹 Chinese cloud pattern</text>
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                <text>（简）坎肩主要采用了红色和黄色的丝线，鲜明夺目，再用较深色的丝线衬托，如深绿色和酒红色，增加了坎肩的层次感。此坎肩运用了挑花和镶拼。刺绣图案为几何纹样，10个十字形紧密排列在坎肩的中心部分，再用线条和矩形区分不同的刺绣图案，整体构图对称，做工精细，色彩丰富。 &#13;
&#13;
(ENG) Miao waistcoat: uses red and yellow silk threads to give a bright and eye-catching look. Darker silk threads, including dark green and burgundy, are used to set off the bright colours and increase the layering of the waistcoat. Crossing stitch and splicing stitch are used. The embroidery pattern is a geometric pattern, with 10 crosses closely arranged in the centre of the waistcoat. Lines and rectangles separate the different embroidery patterns. The overall composition is symmetrical, with fine workmanship and rich colours.&#13;
&#13;
（繁）坎肩主要採用了紅色和黃色的絲線，鮮明奪目，再用較深色的絲線襯托，如深綠色和酒紅色，增加了坎肩的層次感。此坎肩運用了挑花和鑲拼。刺繡圖案為幾何紋樣，10個十字形緊密排列在坎肩的中心部分，再用線條和矩形區分不同的刺繡圖案，整體構圖對稱，做工精細，色彩豐富。</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>贵州省威宁彝族回族苗族自治县 Weining Yi, Hui, and Miao Autonomous County</text>
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                <text>&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;，繁花纹 Blossom pattern</text>
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                <text>（简）大洋袋采用了红色的底布，除了夺目鲜明，亦有吉祥幸福之寓意。此大洋袋运用了破线绣。在刺绣图案方面，中心绣有一朵大红花，再衬托四周的繁花纹。其余部分的花草则主要用蓝色调的丝线制作，并佐以青绿色和鹅黄色，使藏品色彩更丰富，再添层次感和美感。由于土家族长期受汉族文化的影响，刺绣风格偏汉族文化。这反映了土家族与汉族长期杂居，形成文化相融的社会形态。 &#13;
&#13;
(ENG) Tujia purse: red base cloth with flat stitch. The colour red is eye-catching and conotes auspiciousness. A large red flower is embroidered at the centre, surrounded by blossom patterns. The rest of the flower and grass patterns are stitched with blue toned, turquoise and yellow silk threads. These colour patterns create a beautiful layering effect. Due to the strong influence of the Han culture on the Tujia people, the embroidery style is close to that of the Han, reflecting the perennial social and cultural integration of Tujia and Han. &#13;
&#13;
（繁）大洋袋採用了紅色的底布，除了奪目鮮明，亦有吉祥幸福之寓意。此大洋袋運用了破線繡。在刺繡圖案方面，中心繡有一朵大紅花，再襯托四周的繁花紋。其餘部分的花草則主要用藍色調的絲線製作，並佐以青綠色和鵝黃色，使藏品色彩更豐富，再添層次感和美感。由於土家族長期受漢族文化的影響，刺繡風格偏漢族文化。這反映了土家族與漢族長期雜居，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>上世纪50年代 Last century 50s</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>贵州省铜仁市松桃县 Guizhou Tongren Songtao County</text>
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                <text>（简）老背扇绣有大幅红色刺绣，绣出了大自然一派生机盎然的景象。侗族也是刺绣技法相当丰富的少数民族，前面出现过刺花、彩锦、素锦等，现在这件背扇工艺又出现了侗族打籽绣，图案非常热闹，出现了许多的吉祥瑞兽，如凤凰、龙、麒麟、老蛇、羊，此外还有水、山、太阳、蝴蝶、鸟、花和房屋。图案中心用铜钱和双钩云纹将动植物们上下左右的进行对称分布，又运用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。此老背扇运用了打籽绣。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: with large red embroidery which vividly imagined natural scene. The Dong is an ethnic minority with rich embroidery techniques. Satin stitch, coloured brocade, plain brocade are found in other Dong pieces, and this baby carrying belt used the Dong knot stitch. The embroidery pattern is very vibrant, with many auspicious beasts such as Phoenix, dragon, Kylin, old snake, sheep. There are also water, mountains, sun, butterflies, birds, flowers and houses. 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. Dong knot stitch is used. The Dong knot stitch uses a silk thread to first outline a pattern before using the knot stitch technique 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 should be looped twice on the bottom of the silk thread in a small granular circle to form a knot. This technique is repeated until the small knots densely cover the entire pattern, hence the name ‘knot stitch’.&#13;
&#13;
（繁）老背扇繡有大幅紅色刺繡，繡出了大自然一派生機盎然的景象。侗族也是刺繡技法相當豐富的少數民族，前面出現過刺花、彩錦、素錦等，現在這件背扇工藝又出現了侗族打籽繡，圖案非常熱鬧，出現了許多的吉祥瑞獸，如鳳凰、龍、麒麟、老蛇、羊，此外還有水、山、太陽、蝴蝶、鳥、花和房屋。圖案中心用銅錢和雙鉤雲紋將動植物們上下左右的進行對稱分佈，又運用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。此老背扇運用了打籽繡。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>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>&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 &lt;span&gt;Split-thread&lt;/span&gt; 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;</text>
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                <text>（简）出嫁包在红色底布上绣有绿、黄、红色的饰纹，并附有一条靛蓝色的带子，色彩艳丽，华丽夺目。此出嫁包运用了平绣、破线绣、叠绣。刺绣图案构图饱满，对称工整，做工仔细。由于土家族长期受汉族文化的影响，刺绣风格偏汉族文化。刺绣图案也反映了土家族与汉族长期杂居，形成文化相融的社会形态。 &#13;
&#13;
(ENG) Tujia wedding purse: red base cloth embroidered with green, yellow and red patterns. The purse comes with a colourful and gorgeous blue indigo belt. Flat stitch, split-thread stitch, stack stitch are used. Composition of the embroidery patterns is full, symmetrical and neat. As the Tujia have been influenced by Han culture for a long time, the embroidery style is similar to the Han. Embroidery patterns also are reflective of the fact that the Tujia and Han people have lived together for a long time and have a similar cultural heritage. &#13;
&#13;
（繁）出嫁包在紅色底布上繡有綠、黃、紅色的飾紋，並附有一條靛藍色的帶子，色彩艷麗，華麗奪目。此出嫁包運用了平繡、破線繡、疊繡。刺繡圖案構圖飽滿，對稱工整，做工仔細。由於土家族長期受漢族文化的影響，刺繡風格偏漢族文化。刺繡圖案也反映了土家族與漢族長期雜居，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>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>贵州省铜仁市松桃县 Guizhou Tongren Songtao County</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/----------crossing-stitch"&gt;挑花 Crossing stitch&lt;/a&gt;</text>
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                <text>（简）围腰底色深沉，采用了深红色和黑色，将卡其色刺的刺绣衬托得更为夺目，主次分明，富有层次感。此围腰运用了刺花和挑花。刺绣的构图对称，以线条和几何图形填满刺绣图型，连边框也用一样大小的三角形仔细装饰，工整细致。藏品的绣纹均匀分布，做工精巧，可见制作者的认真态度和高超技艺。&#13;
&#13;
(ENG) Bellyband: base colours of dark red and black against eye-catching symmetrical khaki embroideries. Satin stitch and crossing stitch are used with distinct primary and secondary features with successful layering. A profusion of geometric patterns and lines distinguish the embroidery, with the borders intricately decorated with identical triangles that bestow neatness as well as detail. Embroideries are evenly distributed and the piece is masterfully made.  &#13;
&#13;
（繁）圍腰底色深沉，採用了深紅色和黑色，將卡其色刺的刺繡襯托得更為奪目，主次分明，富有層次感。此圍腰運用了刺花和挑花。刺繡的構圖對稱，以線條和幾何圖形填滿刺繡圖型，連邊框也用一樣大小的三角形仔細裝飾，工整細緻。藏品的繡紋均勻分佈，做工精巧，可見製作者的認真態度和高超技藝。</text>
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                <text>上世纪50年代 Last century 50s</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 Guizhou Qiandongnan Miao and Dong Autonomous Prefecture Liping County </text>
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                <text>（简）梭嘎苗衣，款式修身窄袖，后摆延长似燕尾。苗衣主要为蓝绿色调，蜡染的图纹集中在领子、肩部和袖子，整体较为朴素简约，典雅大方。此苗衣运用了彩染和刺绣。蜡染即蜡画和染色，是延续千年的民间传统工艺。用蜡液在自织的白布上精心绘上图案，然后在蓝靛缸里浸染几次后捞出，放在锅里用开水煮去蜡质，再用水清洗浮色，即呈现出各种白色图案。蜡染的工艺十分费工费时，精致图案凸显制作者十分用心，把代代相传的传统工艺发扬光大。 &#13;
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(ENG) Suojia Miao Coat: slim-fit design and narrow sleeves, with the extended back hem like a dovetail. The Miao coat is predominantly in blue-green colours, with patterns concentrate at the collar, shoulder and sleeves. Coloured batik and embroidery are used. Batik refers to the process of beeswax drawing and dyeing and is a traditional craft that has been in existence for over a thousand years. Firstly, wax is used to draw intricate patterns on self-weaved white cloth. The cloth is then immersed several times into a barrel of indigo blue dye and taken out, boiled to remove excess wax, and washed with water to reveal diverse white patterns. Creating batik is time consuming, labour intensive and takes great skill. The art of batik has been passed down through many generations. &#13;
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（繁）梭嘎苗衣，款式修身窄袖，后摆延长似燕尾。苗衣主要為藍綠色調，蠟染的圖紋集中在領子、肩部和袖子，整體較為樸素簡約，典雅大方。此苗衣運用了彩染和刺繡。蠟染即蠟畫和染色，是延續千年的民間傳統工藝。用蠟液在自織的白布上精心繪上圖案，然後在藍靛缸里浸染幾次後撈出，放在鍋裡用開水煮去蠟質，再用水清洗浮色，即呈現出各種白色圖案。蠟染的工藝十分費工費時，精緻圖案凸顯製作者十分用心，把代代相傳的傳統工藝發揚光大。 </text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="377">
                <text>苗族 The Miao</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="378">
                <text>民国 Republic of China</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="379">
                <text>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="380">
                <text>#1395</text>
              </elementText>
            </elementTextContainer>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="381">
                <text>贵州省六盘水市六枝特区 Guizhou Liupen Liuzhi Special District </text>
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