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                  <text>3. 刺绣 Embroidery</text>
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                <text>侗族芦笙衣 The Dong Lusheng Costume</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------applique"&gt;剪贴绣 Applique&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------satin-stitch"&gt;刺花 Satin stitch&lt;/a&gt;，方圆几何纹组合 Combination of geometric patterns</text>
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                <text>（简）芦笙衣用青色布料制作，底色深沉而庄重。此芦笙衣运用了剪贴绣和刺花。剪贴绣是将布料裁剪出所需的图案花纹，或剪好的布料，拼绣出各种大小均匀的花纹和几何纹，再将其锁边固定或绣订到底布上。芦笙衣由马甲和飘带组合而成，飘带下方一般会坠有动物的羽毛，一般为鸟毛，也有鸡毛或鹅毛。在侗族男人吹奏芦笙时，飘带会随着舞动的节奏有韵律地飘动。无论是刺绣或织锦，马甲和飘带上的色调及图案都讲究一致性，这件芦笙衣运用了红、白、黑三色。该藏品图案工整，做工精细，保存完整，具有极高的欣赏性和代表性。&#13;
&#13;
(ENG) Dong lusheng costume: dark and solemn cyan fabric with appliqué and crossing stitch. Appliqué technique involves cutting out fabric for patterns, stitching the cut fabric together to form different patterns such as geometric patterns of equal size, and then stitching and fixing the fabric onto the base cloth. Lusheng costume is a combination of waistcoat and streamer. There are usually bird feathers (for instance, chicken or goose feathers) at the bottom of the streamers. When Dong men play the lusheng, the streamers move with the same rhythm of the dance. Regardless whether it is embroidery or brocade, emphasis is placed on the consistency of colour and pattern of the vest and streamers. This piece uses red, white and black and is highly representative of the neat and fine workmanship of the Dong.&#13;
&#13;
（繁）蘆笙衣用青色布料製作，底色深沉而莊重。此蘆笙衣運用了剪貼繡和刺花。剪貼繡是將布料裁剪出所需的圖案花紋，或剪好的布料，拼繡出各種大小均勻的花紋和幾何紋，再將其鎖邊固定或繡訂到底布上。蘆笙衣由馬甲和飄帶組合而成，飄帶下方一般會墜有動物的羽毛，一般為鳥毛，也有雞毛或鵝毛。在侗族男人吹奏蘆笙時，飄帶會隨著舞動的節奏有韻律地飄動。無論是刺繡或織錦，馬甲和飄帶上的色調及圖案都講究一致性，這件蘆笙衣運用了紅、白、黑三色。該藏品圖案工整，做工精細，保存完整，具有極高的欣賞性和代表性。</text>
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                <text>侗族 The Dong</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>侗族芦笙衣 The Dong Lusheng Costume (#451)</text>
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                <text>贵州黔东南苗族侗族自治州黎平县加鸠乡 Guizhou Qiandongnan Miao and Dong Autonomous Prefecture Liping County Jiagou Village</text>
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                  <text>2. 织锦 Weaving</text>
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                <text>侗族螺丝衣（套装）The Dong Costume (set)</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/----------brocade"&gt;织锦 Brocade&lt;/a&gt;，螺旋纹 Whirlpool pattern，龙纹 Dragon pattern，云雷纹 Fret pattern</text>
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                <text>（简）螺丝衣的底色过于深沉，用金色的丝线刺绣，便能将服饰上的图案衬托得更加醒目亮丽。此螺丝衣运用了刺花和织锦。该套服饰由于年代十分久远，金色丝线颜色虽有褪去，但前胸和后背上精美的刺绣图案仍任在告诉人们它曾经的风采。尤其是两条无拘无束的绣龙，仿佛在游弋一般。至于那些螺旋纹则有待考证，有人说是牛头漩，有人说是漩涡纹，有人说是螺丝。我们推测是回纹的一种，成S状围绕。衣服下摆的织锦为素锦，图案也是中国非常古老的几何纹——雷纹的一种。&#13;
&#13;
(ENG) Dong costume: embroidered with golden coloured silk threads on a dark base colour, the sharp contrast of colours adds brightness to the patterns, making it more eye-catching. Satin stitch and brocade are used. Although the colour of the golden thread has faded with time, the exquisite embroidery gives hints of the former glamour of this costume. The two embroidered dragons are elegantly portrayed as soaring unfettered in the sky. While the whirlpool patterns are thought by some to be designed to mimic a bull’s head, others suggest that they are swirls or spirals, but no firm meaning has yet been confirmed. Our guess is that it is a circular letter pattern that forms an ‘S’ shape. The plain brocade on the hem of the dress features a fret pattern, one of the most ancient of Chinese geometric patterns. &#13;
&#13;
（繁）螺絲衣的底色過於深沉，用金色的絲線刺繡，便能將服飾上的圖案襯托得更加醒目亮麗。此螺絲衣運用了刺花和織錦。該套服飾由於年代十分久遠，金色絲線顏色雖有褪去，但前胸和後背上精美的刺繡圖案仍任在告訴人們它曾經的風采。尤其是兩條無拘無束的繡龍，彷彿在游弋一般。至於那些螺旋紋則有待考證，有人說是牛頭漩，有人說是漩渦紋，有人說是螺絲。我們推測是迴紋的一種，成S狀圍繞。衣服下擺的織錦為素錦，圖案也是中國非常古老的幾何紋——雷紋的一種。&#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>贵州黔东南苗族侗族自治州黎平县九潮镇 Guizhou Qiandongnan Miao and Dong Autonomous Prefecture Jiuchao Town </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;，牡丹花 Peony pattern，蝴蝶 Butterfly pattern，锦鸡 Pheasant，鱼纹 Fish pattern，鸟纹 Bird pattern，大虾 Prawn pattern</text>
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                <text>（简）刺绣背心在深蓝色的底布上绣有大朵的牡丹花，鲜艳夺目，四周亦绣有小花、蝴蝶、鱼、鸟、大虾等图案，画面丰富而主次分明，丝毫没有喧宾夺主。此刺绣背心运用了平绣。背心的领口、袖口和下摆都饰有红色布边，并绣有金色的花草图纹，可见制作者十分留意细节，态度认真，技艺亦十分高超。&#13;
&#13;
(ENG) Child’s embroidered vest: vibrant, big and eye-catching peony embroidered on a dark blue base cloth. Surrounding the peony are richly detailed small flowers, butterflies, fish, birds and prawns. The focal point is on the peony patterns, which sit gracefully and distinctively among all the subordinate patterns without being overshadowed. Flat stitch is used. The collar, cuffs and hem of the vest are decorated with fringes of red cloth, and embroidered with golden coloured floral sketch patterns. This piece has been meticulously made with great attention to detail and reflects the highly skilled craftsmanship of its creator.&#13;
&#13;
（繁）刺繡背心在深藍色的底布上繡有大朵的牡丹花，鮮豔奪目，四周亦繡有小花、蝴蝶、魚、鳥、大蝦等圖案，畫面豐富而主次分明，絲毫沒有喧賓奪主。此刺繡背心運用了平繡。背心的領口、袖口和下擺都飾有紅色布邊，並繡有金色的花草圖紋，可見製作者十分留意細節，態度認真，技藝亦十分高超。&#13;
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                <text>苗族 The Miao</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>#1276</text>
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                <text>贵州黔东南苗族侗族自治州台江县施洞镇 Guizhou Qiandongnan Miao and Dong Autonomous Prefecture Taijiang County Shidong Town</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/----------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>#334</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>2. 织锦 Weaving</text>
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                <text>剑河围腰 Jianhe Bellyband</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;，大的万福图纹 Big Wanfu pattern</text>
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                <text>（简）围腰主要采用了黑白两色，朴素简约，典雅大方。此围腰运用了素锦的制作技艺。织锦图案为紧密相连的大矩形，里面用大幅的万福图纹填满，构图饱满，对称工整，做工仔细。万福图纹在古代有吉祥好运的寓意，在古老的彩陶和钱币上均有发现过万福图纹，历史悠久，意涵深远。 &#13;
&#13;
(ENG) Jianhe bellyband: simple yet elegant black and white bellyband with rectangular patterns. Plain brocade is used. The adjoining rectangles are filled with Wanfu patterns. The Wanfu pattern traditionally symbolizes good luck and has been found on painted pottery and coins dating back to the ancient times.  The patterns and embroidery on this bellyband have deep meanings and a long history.&#13;
&#13;
（繁）圍腰主要採用了黑白兩色，樸素簡約，典雅大方。此圍腰運用了素錦的製作技藝。織錦圖案為緊密相連的大矩形，裡面用大幅的萬福圖紋填滿，構圖飽滿，對稱工整，做工仔細。萬福圖紋在古代有吉祥好運的寓意，在古老的彩陶和錢幣上均有發現過萬福圖紋，歷史悠久，意涵深遠。  &#13;
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                <text>苗族 The Miao</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>#347</text>
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                <text>凯里市剑河县南寨乡 Kaili City Jianhe County Nanzhai Village</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>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>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>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------wrinkling-stitch"&gt;皱绣 Wrinkling 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;，各式花草龙纹 Various flower, grass and dragon pattern</text>
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                <text>（简）绣苗衣的红色刺绣与黑色底布形成鲜明对比，龙纹工艺十分精细，龙齿、龙舌、龙珠、龙鳞、龙翅和龙爪皆清晰可见，栩栩如生。此绣苗衣运用了皱绣和叠绣。皱绣先取7-8-9颗丝线编制为一种特殊绣线，这种绣线宽而扁平，形同女孩子的发辫。将辫线折叠并固定，便形成一种立体并厚实的特殊绣线，再用绣线盘出各种图案，让刺绣与底布之间形成凹凸感，制造恍如浅浮雕的视觉效果。皱绣因为色彩及复杂的工艺，刺绣花纹容易带给人们一团绿色的视觉效果，而这件衣服不仅构图复杂，图案还非常清晰立体，无疑是同时期的极品之作。该件藏品的收藏价值甚高，图案少见，构图饱满，具有极高的工艺价值与美术价值。&#13;
&#13;
(ENG) Taijiang embroidered Miao coat: black base cloth with striking contrasting red embroidery. Masterful and vivid stitching of the dragon patterns enable the dragon’s teeth, tongue, scales, wings, claws and ** to be clearly identifiable. Wrinkling stitch and stack stitch are used. To create the wrinkling stitch, 7 to 9 silk threads are first taken and woven into a special embroidery thread that is broad and flat. The thread is folded in half and fixed with a silk thread through the middle. This creates a thick thread which could be used to embroider different patterns on the fabric. The embroidery stitched with this thread stands out against the flat garment, producing a bas-relief effect. Due to the colour and complicated technique of wrinkling stitch, it can often produce a green, messy aesthetic. However, with its complicated composition and clear three dimension patterns, this piece is anything but messy. This coat is one of the best examples of Miao clothing culture of the period. A highly valuable piece with rare patterns and rich content, the craftmanship and artistry of this coat are immense. &#13;
&#13;
（繁）繡苗衣的紅色刺繡與黑色底布形成鮮明對比，龍紋工藝十分精細，龍齒、龍舌、龍珠、龍鱗、龍翅和龍爪皆清晰可見，栩栩如生。此繡苗衣運用了皺繡和疊繡。皺繡先取7-8-9顆絲線編制為一種特殊繡線，這種繡線寬而扁平，形同女孩子的髮辮。將辮線折疊並固定，便形成一種立體並厚實的特殊繡線，再用繡線盤出各種圖案，讓刺繡與底布之間形成凹凸感，製造恍如淺浮雕的視覺效果。皺繡因為色彩及復雜的工藝，刺繡花紋容易帶給人們一團綠色的視覺效果，而這件衣服不僅構圖複雜，圖案還非常清晰立體，無疑是同時期的極品之作。該件藏品的收藏價值甚高，圖案少見，構圖飽滿，具有極高的工藝價值與美術價值。</text>
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                <text>苗族 The Miao</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台江县 Guizhou Qiandongnan Miao and Dong Autonomous Prefecture Taijiang County</text>
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                  <text>2. 织锦 Weaving</text>
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                <text>台江苗族围腰 Taijiang The Miao Bellyband</text>
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                <text>（简）围腰中心部分饰有红色织锦，颜色明亮，刺绣图案丰富。此围腰运用了彩锦。该件围腰最大的特色在于织纹，正中心的几何牛角盘龙有龙角、龙须、龙舌、龙齿、龙鳞和龙爪，栩栩如生。龙身旁还围绕着四只形态各异的脊宇鸟纹，鸟头、鸟爪和翅膀都十分精巧。苗族的龙纹特别丰富，除了牛角龙的纹样，还有双身龙、双头龙、九翅飞龙、牛龙、蜈蚣龙、花草龙等等。千姿百态的紋樣凸显了制作者的创造力，仅靠织造纬线就将图案造型表现得如此生动鲜明。&#13;
&#13;
(ENG) Bellyband: the centre of the waistband is decorated with dramatic red brocade, with bright colours and rich patterns. Coloured brocade is used. The centre is decorated with a geometrical cow horn coiled dragon. The dragon body is surrounded by four different divine bird patterns, with prominent bird heads, claws and wings. Though solely weaving the weft, the patterns are lively and realistic. The dragon patterns of the Miao are incredibly diverse, and include the cow horn dragon, two-bodied dragon, two-headed dragon, nineteen-winged flying dragon, cow dragon, centipede dragon, flower and plant dragon. The dragons’ horns, beards, tongues, teeth, scales and claws are sewn with great vivacity and creativity.&#13;
&#13;
（繁）圍腰中心部分飾有紅色織錦，顏色明亮，刺繡圖案豐富。此圍腰運用了彩錦。該件圍腰最大的特色在於織紋，正中心的幾何牛角盤龍有龍角、龍鬚、龍舌、龍齒、龍鱗和龍爪，栩栩如生。龍身旁還圍繞著四隻形態各異的脊宇鳥紋，鳥頭、鳥爪和翅膀都十分精巧。苗族的龍紋特別豐富，除了牛角龍的紋樣，還有雙身龍、雙頭龍、九翅飛龍、牛龍、蜈蚣龍、花草龍等等。千姿百態的紋樣凸顯了製作者的創造力，僅靠織造緯線就將圖案造型表現得如此生動鮮明。</text>
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                <text>晚清 Late Qing Dynasty</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/items/show/21"&gt;苗族围腰 The Miao Bellyband (#1424)&lt;/a&gt;</text>
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                <text>黔东南苗族侗族自治州台江县 Qiandongnan Miao and Dong Autonomous Prefecture Taijiang County</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>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>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/----------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>土家族 The Tujia</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>贵州省铜仁市松桃县 Guizhou Tongren Songtao County</text>
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