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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>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>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>侗族 The Dong</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>3. 刺绣 Embroidery</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>&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>&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>（简）芦笙衣整体为深青色，佐以袖子上的橙色拼布，端庄稳重。此芦笙衣运用了叠绣。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。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，有韵律摇曳飘动。&#13;
&#13;
(ENG) Dong Lusheng coat: dark cyan with orange patchwork on the sleeves. It is a modest and elegant piece. Stack stitch is used. 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. The lusheng coat is made from a combination of vest and streamer. Under the streamer, bird feathers (for instance, chicken or goose feathers) are often attached. When Dong men play the lusheng, the streamers will sway in time with the rhythm and beat of the dance.  &#13;
&#13;
（繁）蘆笙衣整體為深青色，佐以袖子上的橙色拼布，端莊穩重。此蘆笙衣運用了疊繡。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。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，有韻律搖曳飄動。</text>
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                <text>晚清 Late Qing Dynasty</text>
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                <text>（简）苗衣的刺绣集中在领口、肩部和衣袖，整体的蓝绿色调十分的雅致。此苗衣运用了叠绣。这件服饰是叠绣工艺的完美体现，叠绣满布，不仅每个用三角形重叠出来的图案非常工整、精细，就连组成图案的每个小三角都十分均匀一致。刺绣图案为排列的方形，每个方形里面都绣有一个放射状八角星，刺绣得十分紧实，可见制作者的认真态度和高超技艺。 &#13;
&#13;
(ENG) Miao coat: embroidery concentrated around the collar and shoulder area as well as the sleeves. The overall bluish-green colour tone signifies elegance. Stack stitch is used. This piece is a perfect realization of the craftsmanship of stack stitch. The coat is fully decorated with stack stitch. Not only the patterns formed from overlapping triangles neat and intricate, the small triangles that form the patterns are themselves even and identical. The embroidery pattern is arranged in squares, with each square embroidered with an octagram pattern. Neat and compact, the embroidery shows the profound attitude and superb skills of its creator.  &#13;
&#13;
（繁）苗衣的刺繡集中在領口、肩部和衣袖，整體的藍綠色調十分的雅緻。此苗衣運用了疊繡。這件服飾是疊繡工藝的完美體現，疊繡滿佈，不僅每個用三角形重疊出來的圖案非常工整、精細，就連組成圖案的每個小三角都十分均勻一致。刺繡圖案為排列的方形，每個方形裡面都繡有一個放射狀八角星，刺繡得十分緊實，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>凯里市凯棠镇 Kaili Kaitang Town</text>
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                <text>（简）背带的底布和刺绣部分都采用了较深沉的色调，如深红色、淡绿色和紫蓝色，朴素简约。此背带运用了彩锦和打籽绣。刺绣图案集中在中间部分，主要是相连的几何纹，构图精细，排列紧密。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，是贵州少数民族服饰文化中非常重要的一部分。每件背带的制作都相当耗时耗工，表达着母亲对孩子深深的爱和美好祝愿。&#13;
&#13;
(ENG) Miao baby carrying belt: the base fabric and embroidery use dark tones such as crimson, light green and bluish-purple, creating a ** effect. Coloured brocade and knot stitch are used. The embroidery patterns are concentrated around the centre, and are mainly connected geometric patterns, with fine composition and compact arrangement. Baby carrying belts are used by ethnic minorities to swaddle their babies and are a crucial part of the Guizhou ethnic minority clothing culture. They are usually produced with artisan techniques such as batik, brocade and embroidery.  Each baby carrying belt is time consuming and laborious to make and is a beautiful display of a mother’s deep love and future hopes for her child.  &#13;
&#13;
（繁）背帶的底布和刺繡部分都採用了較深沉的色調，如深紅色、淡綠色和紫藍色，樸素簡約。此背帶運用了彩錦和打籽繡。刺繡圖案集中在中間部分，主要是相連的幾何紋，構圖精細，排列緊密。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，是貴州少數民族服飾文化中非常重要的一部分。每件背帶的製作都相當耗時耗工，表達著母親對孩子深深的愛和美好祝願。</text>
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                <text>台江县革一镇革一乡 Taijiang County Geyi Town Geyi Village</text>
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                  <text>3. 刺绣 Embroidery</text>
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                <text>苗族盛装衣 The Miao Festive Coat</text>
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                <text>&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;，几何纹 Geometric pattern</text>
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                <text>（简）盛装衣袖子、肩部和領口的刺繡以红色调为主，如大红，桃红，艳红，在黑色底布的襯托下更為鲜明夺目。此盛装衣運用了数纱绣 ，黄平数纱绣图案多以几何纹為主，构图精细，對稱工整。該藏品除了使用紅色繡線，还使用了白色和黄色，使整件服饰图案更為清晰，色彩更明亮。此外，部分年长的苗族婦女也会使用蓝色或紫色丝线制作盛装衣。&#13;
&#13;
(ENG) Miao festive coat: black base fabric with vivid and eye catching embroideries on the sleeves, shoulders and neckline in red tones such as scarlet, peach and ruby red. Counted thread stitch is used. Most of the Huangping counted thread stitch patterns are geometric patterns, with intricate and symmetrical composition. In addition to the use of red embroidery thread, white and yellow threads are also used to make the whole coat pattern clearer and to add colour and brightness. &#13;
&#13;
（繁）盛裝衣袖子、肩部和領口的刺繡以紅色調為主，如大紅，桃紅，艷紅，在黑色底布的襯托下更為鮮明奪目。此盛裝衣運用了數紗繡 ，黃平數紗繡圖案多以幾何紋為主，構圖精細，對稱工整。該藏品除了使用紅色繡線，還使用了白色和黃色，使整件服飾圖案更為清晰，色彩更明亮。此外，部分年長的苗族婦女也會使用藍色或紫色絲線製作盛裝衣。</text>
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                <text>苗族 The Miao</text>
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            <name>Date</name>
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                <text>民国 Republic of China</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="753">
                <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>#709</text>
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                <text>贵州黔东南苗族侗族自治州黄平县 Guizhou Qiandongnan Miao and Dong Autonomous Prefecture Huangping County </text>
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                  <text>3. 刺绣 Embroidery</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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            <description>An account of the resource</description>
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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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            <description>An entity primarily responsible for making the resource</description>
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                <text>布依族 The Bouyei</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>贵阳市乌当区 Guiyang Wudang District</text>
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