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                  <text>3. 刺绣 Embroidery</text>
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                <text>土家族嫁妆包 The Tujia Marriage Purse</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/----------stack-stitch"&gt;叠绣 Stack stitch&lt;/a&gt;，盘长 Shrivatsa，蝴蝶花 Butterfly flower</text>
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                <text>（简）嫁妆包在红色底布的中心绣上大矩形，内有上下左右对称的盘长和蝴蝶花图纹，矩形外亦被盘长围绕，精美大气。此嫁妆包运用了破线绣和叠绣。叠绣，又称堆绣，是将上过浆的轻薄丝绫面料裁剪折叠成细三角形，堆叠于底布之上，边堆边用针线固定，组合成矩形的饰片。由于土家族长期受汉族文化的影响，刺绣风格偏汉族文化。盘长和蝴蝶花等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 marriage purse: using split-thread stitch and stack stitch, a large rectangle is embroidered in the centre of the red base cloth. Inside the rectangle are symmetrical Shrivatsa and butterfly flower patterns, The same exquisite and elegant Shrivatsa can be found surrounding the outside of the rectangle. Stack stitch, also known as pile stitch, is made by cutting and folding pieces of glued thin silk fabric onto small triangular shapes. These small pieces are then stacked on top of the base cloth, the sides sewn with needle and thread, and then combined into a rectangular ornament. Due to the lasting influence the Han’s culture has had on the Tujia, the latter’s embroidery style resembles that of the Han’s. The Shrivatsa and butterfly patterns also suggest that these Tujia and Han have lived together for a long time, integrating their cultural practices and social conventions.&#13;
&#13;
（繁）嫁妝包在紅色底布的中心繡上大矩形，內有上下左右對稱的盤長和蝴蝶花圖紋，矩形外亦被盤長圍繞，精美大氣。此嫁妝包運用了破線繡和疊繡。疊繡，又稱堆繡，是將上過漿的輕薄絲綾面料裁剪折疊成細三角形，堆疊於底布之上，邊堆邊用針線固定，組合成矩形的飾片。由於土家族長期受漢族文化的影響，刺繡風格偏漢族文化。盤長和蝴蝶花等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>土家族背带 The Tujia Baby Carrying Belt</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;，传统花鸟图案 Traditional flower and bird patterns</text>
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                <text>（简）背带整体为鲜红色，以绿色边框点缀刺绣部分，有吉祥福气之寓意。此背带运用了平绣。背带中间部分的传统花鸟图案亦十分精美，花儿婀娜多姿，小鸟栩栩如生，可见刺绣技艺之高超。由于土家族长期受汉族文化的影响，刺绣风格偏汉族文化。背带是少数民族背小孩的工具，常用蜡染，织锦，刺绣工艺来制作。背带的制作相当耗时耗工，寄托了无限的母爱和美好祝愿。 &#13;
&#13;
(ENG) Baby carrying belt: bright red with green embroidered borders. The colour red signifies auspiciousness. Flat stitch is used. The centre is decorated with intricate traditional flower and realistic bird patterns. As the Tujia culture has long been influenced by Han culture, the embroidery style of this belt has similarities with Han clothing culture. Baby carrying belts are used by ethnic minorities to swaddle their babies and are a crucial part of their clothing culture. Creating each baby carrying belt is time-consuming and laborious, and women make these exquisite carrying belts as a direct demonstration of motherly love. &#13;
&#13;
（繁）背帶整體為鮮紅色，以綠色邊框點綴刺繡部分，有吉祥福氣之寓意。此背帶運用了平繡。背帶中間部分的傳統花鳥圖案亦十分精美，花兒婀娜多姿，小鳥栩栩如生，可見刺繡技藝之高超。由於土家族長期受漢族文化的影響，刺繡風格偏漢族文化。背帶是少數民族背小孩的工具，常用蠟染，織錦，刺繡工藝來製作。背帶的製作相當耗時耗工，寄託了無限的母愛和美好祝愿。 </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>#811</text>
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                <text>铜仁市松桃县 Tongren Songtao County</text>
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                <text>土家族腰带 The Tujia Belt</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 Butterfly pattern，锦鸡 Pheasant，盘长 Shrivatsa</text>
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                <text>（简）腰带在黑色底布上绣有金色的蝴蝶和锦鸡，华丽而又不失灵动。此腰带运用了平绣。腰带图案及色彩对称分布，工艺精湛，制作严谨。由于土家族长期受汉族文化的影响，刺绣风格偏汉族文化。该件藏品的收藏价值甚高，年代久远，保存完整，是不可多得的刺绣精品。 &#13;
&#13;
(ENG) Tujia belt: black base cloth with gorgeously vivid embroidered golden yellow butterflies and pheasants. Flat stitch is used. Patterns and colours of the belt are symmetrically distributed with exquisite and precise craftsmanship. The Tujia have long been influenced by Han culture, and both cultures have a similar embroidery style. This belt is well preserved and is a rare and precious addition to the collection.&#13;
&#13;
（繁）腰帶在黑色底布上繡有金色的蝴蝶和錦雞，華麗而又不失靈動。此腰帶運用了平繡。腰帶圖案及色彩對稱分佈，工藝精湛，製作嚴謹。由於土家族長期受漢族文化的影響，刺繡風格偏漢族文化。該件藏品的收藏價值甚高，年代久遠，保存完整，是不可多得的刺繡精品。 </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>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>铜仁市松桃县 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>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/----------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>土家族 The Tujia</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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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>&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>苗族 The Miao</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>六盘水市六枝特区 Liupen Liuzhi Special District </text>
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                <text>（简）披肩主要采用了红色调和黄色调的丝线，鲜艳夺目，活泼明亮。此披肩运用了挑花和镶拼。刺绣图案为各种排列方式的正方形和长方形，并用线条和几何图形填满矩形。除了主色调的红色和黄色，制作者也加入了其他颜色的丝线，如深红色、橙色和绿色，令刺绣图案更有层次感，披肩颜色也更为丰富。披肩的整体构图左右对称，绣纹排列工整，做工十分精细，可见制作者的认真态度和高超技艺。&#13;
&#13;
(ENG) Shawl: bright, vibrant and eye catching shawl embroidered with red and yellow toned thread. Crossing stitch and splicing stitch are used. Embroidery patterns are various arrangements of squares and rectangles filled with lines and geometric shapes. Other than the main colour tones of red and yellow, embroidery threads in other shades such as deep red, orange and green are added to create a sumptuous layering effect. Composition of the shawl is bilaterally symmetrical, with neatly arranged embroidered patterns. The shawl is intricately made and displays a high level of craftsmanship.  &#13;
&#13;
（繁）披肩主要採用了紅色調和黃色調的絲線，鮮豔奪目，活潑明亮。此披肩運用了挑花和鑲拼。刺繡圖案為各種排列方式的正方形和長方形，並用線條和幾何圖形填滿矩形。除了主色調的紅色和黃色，製作者也加入了其他顏色的絲線，如深紅色、橙色和綠色，令刺繡圖案更有層次感，披肩顏色也更為豐富。披肩的整體構圖左右對稱，繡紋排列工整，做工十分精細，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>六盘水市六枝特区 Liupen Liuzhi Special District </text>
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                <text>布依族服饰上衣 The Bouyei Costume Top</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/----------applique"&gt;剪贴绣 Applique&lt;/a&gt;，八角星 Octagram pattern</text>
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                <text>（简）服饰上衣的底布和刺绣都主要采用了蓝色调，上衣的衣袖和前胸部分都有八角星图案，整体较为沉实朴素。此服饰上衣运用了挑花和剪贴绣 。这件藏品这也是贯首服的一种，是为有领贯首衣。贯首服常见于苗族、壮族和布依族，由于面料珍贵和布幅宽度的限制，制作者便将衣服裁剪为几何形，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 Costume Top; The base fabric and embroideries are mainly in blue, which is relatively simple and plain. Crossing stitch and applique are used. It is a type of collared-robe. Robes are commonly found in the Miao, Zhuang and Buyi. Due to the rarity and the limitation in width of the fabrics, the makers cut the clothes into geometric shapes to minimize the waste of fabrics caused by cutting. It is a manifestation of wisdom of the folk women who “make best use of everything”. In terms of embroidery patterns, this costume is different from the octagram patterns found on previous clothings. &#13;
&#13;
（繁）服飾上衣的底布和刺繡都主要採用了藍色調，上衣的衣袖和前胸部分都有八角星圖案，整體較為沈實樸素。此服飾上衣運用了挑花和剪貼繡 。這件藏品這也是貫首服的一種，是為有領貫首衣。貫首服常見於苗族、壯族和布依族，由於面料珍貴和布幅寬度的限制，製作者便將衣服裁剪為幾何形，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。&#13;
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                <text>布依族 The Bouyei</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>&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>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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