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                  <text>3. 刺绣 Embroidery</text>
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                <text>土家族镂空云肩 The Tujia Hollow Cloud Shawl</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;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/-------chain-stitch"&gt;锁绣 Chain stitch&lt;/a&gt;，花卉 Flowers，缠枝 Tangled branches，鸟纹 Bird pattern，蝶纹 Butterfly pattern，花瓶 Vase</text>
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                <text>（简）镂空云肩由立体的刺绣相连而成，有花鸟、蝴蝶、枝叶，构图巧妙细腻。此镂空云肩运用了破线绣和锁绣。刺绣的图案取材自大自然，表现了苗族人民对大自然的热爱，和对生命的崇敬。该件藏品的收藏价值甚高，年代久远而保存完整、图案清晰，精湛的工艺亦具极高的美学欣赏价值。 &#13;
&#13;
(ENG) Hollowed out cloud shawl: made with three-dimensional embroideries sewn together. Flowers, butterflies, birds, tree branches and leaves are all intricately and exquisitely portrayed. Split line stitch and chain stitch are used. The pattern takes inspiration from the natural world, and displays the Miao’s love of and admiration for all life on earth. The high collection and aesthetic value of this piece is realised through its long history and pristine state. &#13;
&#13;
（繁）鏤空雲肩由立體的刺繡相連而成，有花鳥、蝴蝶、枝葉，構圖巧妙細膩。此鏤空雲肩運用了破線繡和鎖繡。刺繡的圖案取材自大自然，表現了苗族人民對大自然的熱愛，和對生命的崇敬。該件藏品的收藏價值甚高，年代久遠而保存完整、圖案清晰，精湛的工藝亦具極高的美學欣賞價值。 </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>#93</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>土家族大洋袋 The Tujia Purse</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>土家族大洋袋 The Tujia Purse</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;，繁花纹 Blossom pattern</text>
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                <text>（简）大洋袋采用了红色的底布，夺目鲜明之余，亦有吉祥幸福之寓意。此大洋袋运用了平绣。在刺绣图案方面，中心的花朵以红色调绣线制作，再用蓝色调的绣线在四周绣上繁花纹。以同色调的绣线绘制边线和叶子，令繁花纹更突出立体，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: eye catching red base cloth which connotes auspiciousness. Flat stitch is used. The flower at the centre of the patterns is made of red threads, and blossom patterns are embroidered on the four sides with blue threads. The borders and leaves are stitched with threads of the same colour to make the blossom patterns more prominent and three dimensional, thereby adding an extra layer of texture and artistic beauty. The embroidery style is similar to that of the Han and reflects the long standing cultural and social integration of Tujia and Han clans. &#13;
&#13;
（繁）大洋袋採用了紅色的底布，奪目鮮明之餘，亦有吉祥幸福之寓意。此大洋袋運用了平繡。在刺繡圖案方面，中心的花朵以紅色調繡線製作，再用藍色調的繡線在四周繡上繁花紋。以同色調的繡線繪製邊線和葉子，令繁花紋更突出立體，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>民国 Republic of China</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/----------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）大洋袋通体绣满了繁花纹，整体为正红色，活泼喜庆。色彩方面，花朵采用了红色调和蓝色调的丝线制作，草叶则用了紫色、青绿色和鹅黄色，使藏品色彩更丰富，再添层次感和美感。此大洋袋运用了破线绣。藏品的刺绣风格偏汉族文化，比如花草纹的设计，反映土家族在服装方面受到汉族文化的影响。由于土家族与汉族长期杂居，在不少藏品中都能发现文化相融的现象。&#13;
&#13;
(ENG) Tujia purse: mainly red with blossom patterns. It is vibrant and the colour red signifies auspiciousness. The blossoms are made with silk threads in red and blue tones, while the grass and leaves are made with purple, green and yellow threads to give a pleasing layering effect. Split line stitch is used. The embroidery style of this purse leans towards Han culture, for example in the design of the flower and grass pattern, and reflects the ways in which Tujia clothing has been influenced by Han culture. As the Tujia and Han have lived together for a long time, evidence of cultural integration can be observed across different collections. &#13;
&#13;
（繁）大洋袋通體繡滿了繁花紋，整體為正紅色，活潑喜慶。色彩方面，花朵採用了紅色調和藍色調的絲線製作，草葉則用了紫色、青綠色和鵝黃色，使藏品色彩更豐富，再添層次感和美感。此大洋袋運用了破線繡。藏品的刺繡風格偏漢族文化，比如花草紋的設計，反映土家族在服裝方面受到漢族文化的影響。由於土家族與漢族長期雜居，在不少藏品中都能發現文化相融的現象。</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>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/item/54"&gt;大洋袋 Purse (#40)&lt;/a&gt;</text>
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                  <text>3. 刺绣 Embroidery</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/----------counted-thread-stitc"&gt;数纱绣 Counted thread stitch&lt;/a&gt;，井字纹 Oxford pattern，冰花纹 Ice flake pattern，几何蝴蝶纹 Geometric butterfly pattern，曲折纹 Zigzag pattern</text>
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                <text>（简）贯首衣只用了黑白灰的颜色，对称的刺绣部分细致繁复，简约而不简单。此贯首衣运用了挑花和数纱绣。最早有关贯首衣的记载在&lt;旧唐书南平僚传&gt;中有记载，妇女横布两幅，穿中而贯其首。这种衣服款式苗族，壮族，布依族常见，将衣服裁剪为几何形，是因面料珍贵，布幅宽度限制，尽量减少因裁剪而造成的布料浪费，是民间妇女「物尽其用」的智慧体现。 &#13;
&#13;
(ENG) The Bouyei robe: black, grey and white fabric. Crossing stitch and counted thread stitch are used. The symmetrical embroidery is fine and ornate. The earliest documentation of the Bouyei robe can be found in the Old Book of Tang Nanping Rau Biography, which states that “women take out two long [pieces of] cloth, stitch them together and wear them by pulling them over their heads”. The Miao, the Zhuang and the Bouyei all used this style of clothing. The fabric used is expensive and precious, and clothes are cut by women into geometric patterns to maximise every portion of the fabric and minimise waste, demonstrating folk wisdom. &#13;
&#13;
（繁）貫首衣只用了黑白灰的顏色，對稱的刺繡部分細緻繁複，簡約而不簡單。此貫首衣運用了挑花和數紗繡。最早有關貫首衣的記載在&lt;舊唐書南平僚傳&gt;中有記載，婦女橫布兩幅，穿中而貫其首。這種衣服款式苗族，壯族，布依族常見，將衣服裁剪為幾何形，是因面料珍貴，布幅寬度限制，盡量減少因裁剪而造成的布料浪費，是民間婦女「物盡其用」的智慧體現。 </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>贵阳市乌当区 Guiyang Wudang District</text>
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                  <text>2. 织锦 Weaving</text>
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                <text>布依族织锦 The Bouyei Brocade</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/-------coloured-brocade"&gt;织锦（彩锦）Brocade (coloured brocade)&lt;/a&gt;，雷纹 Fret pattern，井字纹 Oxford pattern</text>
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                <text>（简）织锦上布满连绵不断的雷纹和井字纹，以紫色和深蓝色相间。此织锦运用了彩锦的制作方式。雷纹是古代陶瓷及青铜器上常见纹饰，连续的几何图案由方折回旋形线条形成，寓意吉利永长。雷纹常用于织锦，除了常见于布依族织锦，苗族和侗族的织锦、蜡染、刺绣中都常发现雷纹。由此是否可推测，图案的传播与传承并无民族之分，而少数民族所秉持的传统生活方式，对中国的古代符号起到了重要的保护作用。 &#13;
&#13;
(ENG) Brocade: fret and oxford patterns alternating in purple and deep blue colours. Techniques of coloured brocade are used. Fret patterns are common decorations on ancient ceramics and bronzeware. The ideal of everlasting luck is portrayed in the geometric patterns. Fret patterns are usually used on brocade and can be found on the brocade of the Bouyei, Miao and the Dong as well as on embroidery and batik. From this it can be inferred that the spreading and passing down of specific patterns are not bounded by ethnic divisions. The unchanging lifestyle of ethnic minorities has an indispensable protective function for ancient Chinese patterns and symbols.&#13;
&#13;
（繁）織錦上佈滿連綿不斷的雷紋和井字紋，以紫色和深藍色相間。此織錦運用了彩錦的製作方式。雷紋是古代陶瓷及青銅器上常見紋飾，連續的幾何圖案由方折迴旋形線條形成，寓意吉利永長。雷紋常用於織錦，除了常見於布依族織錦，苗族和侗族的織錦、蠟染、刺繡中都常發現雷紋。由此是否可推測，圖案的傳播與傳承並無民族之分，而少數民族所秉持的傳統生活方式，對中國的古代符號起到了重要的保護作用。 </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>黔南布依族苗族自治州荔波县 Qiandongnan Miao and Dong Autonomous Prefecture Libo County </text>
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                  <text>3. 刺绣 Embroidery</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/----------applique"&gt;剪贴绣 Applique&lt;/a&gt;，花鸟纹 Flower and bird pattern，花卉纹 Flower pattern，麒麟纹 Kylin pattern，勾云纹 Chinese cloud pattern</text>
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                <text>（简）背带以正红色为主色调，中心的菱形绣满了花草纹。此背带运用了平绣和剪贴绣。背带的花纹运用甚具特色，以云纹勾勒出鸟和麒麟的图案，非常生动，极富想象力。背带是少数民族妇女背小孩时使用的用具，制作者会将背带制作得很精美，这是母爱最直接的表现。 &#13;
&#13;
(ENG) Baby carrying belt: predominantly red, with a central rhombus covered with a flower and grass pattern. Flat stitch and appliqué are used. Highly distinctive Chinese cloud patterns are used to outline realistic bird and kylin shapes. Baby carrying belts are a crucial part of ethnic minority clothing culture, and are beautiful displays of the ways in which mothers express their deep love and hopes for their children. &#13;
&#13;
（繁）背帶以正紅色為主色調，中心的菱形繡滿了花草紋。此背帶運用了平繡和剪貼繡。背帶的花紋運用甚具特色，以雲紋勾勒出鳥和麒麟的圖案，非常生動，極富想像力。背帶是少數民族婦女背小孩時使用的用具，製作者會將背帶製作得很精美，這是母愛最直接的表現。 </text>
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                <text>（简）织锦片浅黄色和青蓝色相间，采用了较低调的对比色，为藏品增添色彩同时亦令其更为朴实耐看。此织锦片运用了彩锦。织锦图案是一样大小的方形整齐排列，构图对称工整。方形的中间亦饰有几何图纹，做工精巧细致，留白得恰的好处，可见制作者的审美观和高超技艺。&#13;
&#13;
(ENG) Tapestry: alternating colours of light yellow and cyan. The modest complementary colours render the tapestry simple yet also highly pleasing to the eye. Colour brocade is used. Patterns of the tapestry are formed by a regular arrangement of identical squares, leading to a symmetrically neat composition. Geometric patterns are decorated at the centre of each square and the workmanship is intricate and detailed. Intentionally left blank spaces are aesthetically pleasing and reveal the high artistry of the tapestry’s creator. &#13;
&#13;
（繁）織錦片淺黃色和青藍色相間，採用了較低調的對比色，為藏品增添色彩同時亦令其更為樸實耐看。此織錦片運用了彩錦。織錦圖案是一樣大小的方形整齊排列，構圖對稱工整。方形的中間亦飾有幾何圖紋，做工精巧細緻，留白得恰的好處，可見製作者的審美觀和高超技藝。 </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>贵州黔南布依族苗族自治州荔波县 Guizhou Qiandongnan Miao and Dong Autonomous Prefecture Libo County</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/-------coloured-brocade"&gt;彩锦 Coloured brocade&lt;/a&gt;，蝴蝶纹 Butterfly pattern，鸟纹 Bird pattern，盆花 Flower pattern</text>
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                <text>（简）背面中心织有大片红色彩锦，使用了金色和紫色的丝线制作，华丽秀美。背面佐以深橙色和靛蓝色的边框，为藏品增添色彩，而又丝毫没有眼花撩乱。此背面运用了彩锦的制作技艺。中心部分的红色彩锦织有丰富的纹样，有蝴蝶纹、鸟纹和盆花，构图对称精巧，做工仔细，可见制作者的认真态度和高超技艺。 &#13;
&#13;
(ENG) Brocade jacket: centre back woven with a large piece of red brocade using beautiful golden coloured and purple silk threads. The back section is framed by dark orange and indigo borders. The central red coloured brocade is richly decorated and includes butterfly, bird and flower patterns. The composition is symmetrical and exquisite, and displays a superb and dedicated level of craftsmanship.&#13;
&#13;
（繁）背面中心織有大片紅色彩錦，使用了金色和紫色的絲線製作，華麗秀美。背面佐以深橙色和靛藍色的邊框，為藏品增添色彩，而又絲毫沒有眼花撩亂。此背面運用了彩錦的製作技藝。中心部分的紅色彩錦織有豐富的紋樣，有蝴蝶紋、鳥紋和盆花，構圖對稱精巧，做工仔細，可見製作者的認真態度和高超技藝。 </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/----------brocade"&gt;素锦 Plain brocade&lt;/a&gt;，菱形纹 Rhombic pattern，井字纹 Oxford pattern</text>
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                <text>（简）老背面整体为蓝色调，主要采用了深蓝色和靛蓝色，图纹方面则用了米色，佐以两侧的短流苏，朴素大方，低调而不失美感。此老背面运用了素锦的制作技艺。在织锦图案方面，一样大小的菱形紧密排列，每个菱形里面都织有井字纹，做工精巧细心，可见制作者的仔细和认真。 &#13;
&#13;
(ENG) Brocade old jacket trim: dark blue and indigo with blue tones. Beige is used for the patterns, which are accompanied by short tassels on both flanks to give a simple, low-key aesthetic. Plain brocade is used. Rhombic patterns of the same size are closely arranged on the brocade. Within each rhombus, oxford patterns are woven, showcasing the exquisite and meticulous workmanship.  &#13;
&#13;
（繁）老背面整體為藍色調，主要採用了深藍色和靛藍色，圖紋方面則用了米色，佐以兩側的短流蘇，樸素大方，低調而不失美感。此老背面運用了素錦的製作技藝。在織錦圖案方面，一樣大小的菱形緊密排列，每個菱形裡面都織有井字紋，做工精巧細心，可見製作者的仔細和認真。 </text>
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