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                  <text>2. 织锦 Weaving</text>
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                <text>侗族儿童背带裤 The Dong Children Overalls</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------brocade"&gt;织锦（素锦-仅蓝白两色）Brocade (plain - blue and white only)&lt;/a&gt;，八角星 Octagram pattern ，雷纹 Fret pattern，回纹 Circular-letter pattern，曲折纹 Zigzag pattern</text>
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                <text>（简）儿童背带裤蓝白相间，简约朴素，低调而不失美感。此背带裤运用了素锦的制作技艺。背带裤上织满了八角星、回纹、曲折纹等纹样，皆为中国传统古老的几何纹饰。最早出现在陶瓷和青铜器上，有吉祥、富贵绵长的美好寓意。八角星图案是大渡口文化时期人们对宇宙世界极简概括的形象表现。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) Children’s overalls: decorated in fret, circular-letter and zig-zag patterns, stitched with blue and white threads. Both ancient and traditional, these Chinese geometric patterns first appeared on porcelain and bronze artifacts and signified auspiciousness and endless prosperity. These patterns are still commonly found on clothes of the Miao and the Dong today. The octagonal pattern indicates the long history of these ethnic minorities and reflects a minimalist view of the universe that was prevalent in the Dadukou cultural period. Traditional Chinese cultural symbols continue to be reflected in the unchanged production mode and lifestyles of ethnic minorities. The unchanged production mode and lifestyles of ethnic minorities are indispensable to the continuation of the traditional Chinese symbols. &#13;
&#13;
（繁）兒童背帶褲藍白相間，簡約樸素，低調而不失美感。此背帶褲運用了素錦的製作技藝。背帶褲上織滿了八角星、迴紋、曲折紋等紋樣，皆為中國傳統古老的幾何紋飾。最早出現在陶瓷和青銅器上，有吉祥、富貴綿長的美好寓意。八角星圖案是大渡口文化時期人們對宇宙世界極簡概括的形象表現。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。&#13;
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                <text>侗族 The Dong&#13;
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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>黔东南苗族侗族自治州黎平县 Qiandongnan Miao and Dong Autonomous Prefecture Liping County </text>
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                  <text>3. 刺绣 Embroidery</text>
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                <text>亻革家老背带 The Gejia Baby Carrying Belt</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------double-thread-chain-"&gt;双针锁绣 Double-thread chain stitch&lt;/a&gt;，数纱绣 Counted thread embroidery，蝴蝶纹 Butterfly pattern，几何纹 Geometric pattern</text>
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                <text>（简）背带主要采用了橘色和深蓝色，刺绣图案则为同等大小的小方块，每个小方块内皆饰有对称分布的抽象蝴蝶纹。外围则有线条简洁、流畅的蝴蝶纹，构图工整细致。此背带运用了双针锁绣和数纱绣。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) Baby carrying belt: orange and dark blue and embroidery made with small squares of equal sizes. The central part is dissected into squares of equal size with symmetrically distributed abstract butterfly patterns. The periphery is composed of uniform neat, simple and fluid butterfly patterns. Double needle working stitch and counted thread stitch are used. Baby carrying belts are used by ethnic minorities to swaddle their babies. They are usually produced with artisan techniques such as batik, brocade and embroidery and are a crucial part of the Guizhou ethnic minority clothing culture. Each baby carrying belt is time consuming and laborious to make and the intricately finished belt is a beautiful expression of a mother’s deep love and future hopes for her child.  &#13;
&#13;
（繁）背帶主要採用了橘色和深藍色，刺繡圖案則為同等大小的小方塊，每個小方塊內皆飾有對稱分佈的抽象蝴蝶紋。外圍則有線條簡潔、流暢的蝴蝶紋，構圖工整細緻。此背帶運用了雙針鎖繡和數紗繡。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愿。</text>
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                <text>苗族-亻革家 The Miao - Gejia</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>黄平县重安镇 Huangping County Chongan Town </text>
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                  <text>3. 刺绣 Embroidery</text>
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                <text>亻革家老背带 The Gejia Baby Carrying Belt</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------double-thread-chain-"&gt;双针锁绣 Double-thread chain 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 embroidery&lt;/a&gt;，&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------batik"&gt;蜡染 Batik&lt;/a&gt;</text>
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                <text>&lt;p class="p1"&gt;（简）该亻革家蜡染背扇最大特色就是菱形蜡染小方片与菱形刺绣小方片交叉，对称排列。蜡染与刺绣相结合制作绣花衣也是苗族此分支的一大特色，刺绣与蜡染皆小巧，图案细腻，工整。背带运用了双针锁绣、数纱绣和蜡染。多元化的制作技艺凸显制作者功力深厚，能将不同技法融会贯通，从而制作藏品。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，表达着母亲对孩子深深的爱和美好祝愿。&lt;br /&gt;&lt;br /&gt;(ENG) Baby carrying belt: significant feature composed by the diamond-shaped batik squares and the embroidery squares crossed and arranged symmetrically. The combination of batik and embroidery in making embroidered clothes is also a major feature of this branch of the Miao. The embroidery and batik are both delicate, with neat and meticulous patterns.&lt;span class="Apple-converted-space"&gt;  &lt;/span&gt;Double-thread chain stitch, counted thread stitch and batik are used. The use of diverse techniques highlights the profound skills of the producer and the ability to integrate different techniques in producing the collection. Baby carrying belts are used by ethnic minorities to swaddle their babies. They are made to exceptionally high craftsmanship standards using batik, brocade and embroidery techniques. Baby carrying belts are a crucial part of the Guizhou ethnic minority clothing culture, and are beautiful displays of the ways in which mothers express their deep love and hopes for their children.&lt;br /&gt;&lt;br /&gt;（繁）該亻革家蠟染背扇最大特色就是菱形蠟染小方片與菱形刺繡小方片交叉，對稱排列。蠟染與刺繡相結合製作繡花衣也是苗族此分支的一大特色，刺繡與蠟染皆小巧，圖案細膩，工整。背帶運用了雙針鎖繡、數紗繡和蠟染。多元化的製作技藝凸顯製作者功力深厚，能將不同技法融會貫通，從而製作藏品。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，表達著母親對孩子深深的愛和美好祝愿。&lt;/p&gt;</text>
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                  <text>1. 蜡染 Dyeing</text>
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                <text>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/----------batik"&gt;蜡染 Batik&lt;/a&gt;，菊花图纹 Chrysanthemum pattern</text>
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                <text>（简）蜡染衣低调大方，连绵不断的蜡染纹样随性简朴，细看则察其做工精巧。蜡染图案蓝白分间，分布平均，一丝不苟。此背带运用了蜡染的制作技艺。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;
&#13;
(ENG) Batik clothing: this cloth is decorated with a randomized, simple and continuous batik pattern that is graceful and subtle. Closer inspection reveals the intricate craftsmanship that has gone into making this clothing. Batik patterns are meticulously and evenly distributed with blue separating from white. Batik involves wax drawing and dyeing and is a traditional art that has been used by the Miao people for thousands of years. Creating a batik piece of clothing is time consuming, labour intensive and takes great skill. 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. The art of batik has been passed down through many generations.&#13;
&#13;
（繁）蠟染衣低調大方，連綿不斷的蠟染紋樣隨性簡樸，細看則察其做工精巧。蠟染圖案藍白分間，分佈平均，一絲不苟。此背帶運用了蠟染的製作技藝。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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                <text>苗族-亻革家 The Miao - Gejia</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/items/show/28"&gt;亻革家蜡染衣 The Gejia Batik Cloth (#67)&lt;/a&gt;</text>
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                <text>黄平县重安镇 Huangping County Chongan 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/----------knot-stitch"&gt;打籽绣 Knot 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;，蝴蝶纹 Butterfly pattern，花草纹 Flower and grass pattern，漩涡纹 Spiral pattern</text>
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                <text>（简）背扇采用了红、绿和米色的丝线制作刺绣，红花绿叶的设计令花草纹活灵活现。此背扇运用了打籽绣和叠绣。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。衡量一件好的打籽绣衣不仅要图案秀美，而且要求所打的每一颗籽要细小、圆润、饱满、紧实。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。背扇通体布满绣纹，连边缘也饰有刺绣，可见制作者的认真态度和高超技艺。&#13;
&#13;
(ENG) Miao baby carry belt: embroidered with red, green and beige silk threads. The high contrast of red flowers with green leaves makes the flower patterns come alive. Knot stitch and stack stitch are used. Knot stitch is a method of knotting thread to create a three dimensional pattern. Firstly, the pattern is outlined with silk threads, then the needle is twice coiled around the bottom of the silk thread to form a small granular knot. This process is repeated until the pattern is filled with densely packed small knots. To judge a good knot stitch garment, not only the beautiful patterns are essential, it also requires every knot to be small, round, full, and firm. Stack stitch is created by cutting and folding lightly glued silk fabric into thin triangles, stacking them onto the base fabric and then fixing the stacks of fabric with needle and thread to form a rectangular patch. The entire baby carrying belt is covered with embroidered patterns and showcases the artistry and exquisite craftsmanship of its creator.  &#13;
&#13;
（繁）背扇採用了紅、綠和米色的絲線製作刺繡，紅花綠葉的設計令花草紋活靈活現。此背扇運用了打籽繡和疊繡。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。衡量一件好的打籽繡衣不僅要圖案秀美，而且要求所打的每一顆籽要細小、圓潤、飽滿、緊實。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。背扇通體佈滿繡紋，連邊緣也飾有刺繡，可見製作者的認真態度和高超技藝。&#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>台江县革一镇 Taijiang County Geyi Town</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>&lt;a href="https://lanmama.lib.hku.hk/exhibits/show/embroidery-technique/-------coloured-brocade"&gt;织锦（彩锦）Brocade (colour)&lt;/a&gt;</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>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/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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&#13;
(ENG) Baby carrying belt: mainly black with red embroidery to produce a stark colour contrast. Flat stitch and stack stitch are used. Various butterfly patterns are symmetrically distributed at the centre. Embroidered butterflies are meticulously and realistically detailed, with antennas, bodies and wings with patterns. Such attention to detail and realism reveals the superior observation skills of the Miao women, and demonstrates their love of and passion for the natural world. Baby carrying belts are used by ethnic minorities to swaddle their babies. Each baby carrying belt is time consuming and laborious to make and is a beautiful expression of a mother’s deep love and future hopes for her child. &#13;
&#13;
（繁）背帶的上側和中心部分飾有紅色刺繡，與黑色底布形成鮮明的顏色對比。此背帶運用了平繡和疊繡。團花紋的蝴蝶紋對稱分佈，構圖細緻。蝴蝶紋的刺繡十分仔細，包括觸角、身體和帶花紋的翅膀，造型栩栩如生，凸顯她們對生命高超的觀察力，以及對大自然的熱愛。背帶是少數民族婦女背小孩時使用的用具，苗族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）背带上不同大小的矩形对称排列，构图工整，方形图案里面填满了漩涡纹，手工细致精巧。背带运用了蜡染的制作技艺。蜡染即蜡画和染色，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。漩涡纹是出现较早的中国传统纹样之一，被认为是中国传统纹样审美思想和造型意识的起源。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，表达着母亲对孩子深深的爱和美好祝愿。&#13;
&#13;
(ENG) Baby carrying belt: batik with spiral filled square patterns. Batik is very labour intensive and time consuming to make. Batik is a traditional craft and refers to the process of beeswax drawing and dyeing. The exquisite patterns highlight the creator’s considerable skills and dedication to passing down these techniques from generation to generation. Regarded as one of the oldest design aesthetics, the spiral pattern is an ancient traditional Chinese pattern. Baby carrying belts are used by ethnic minorities to swaddle their babies. They are usually produced with artisan techniques such as batik, brocade and embroidery, and are beautiful displays of a mother’s deep love and future hopes for her child.&#13;
&#13;
（繁）背帶上不同大小的矩形對稱排列，構圖工整，方形圖案裡面填滿了漩渦紋，手工細緻精巧。背帶運用了蠟染的製作技藝。蠟染即蠟畫和染色，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。漩渦紋是出現較早的中國傳統紋樣之一，被認為是中國傳統紋樣審美思想和造型意識的起源。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，表達著母親對孩子深深的愛和美好祝愿。</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）背带通体满布红色刺绣，连绵不断，小巧的纹样排列十分有条理，雅致井然。此背带运用了数纱绣。黄平数纱绣图案多以几何纹为主，构图对称，做工精致。苗族喜用红色丝线刺绣，有喜气、活力之寓意，鲜艳的色彩更凸显了苗族刺绣的表现力。背带是少数民族妇女背小孩时使用的用具，苗族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:  abundant red embroidery, stitched with identical geometric patterns. The geometric patterns are intricate and arranged in an orderly and elegant manner, conveying a sense of continuity. Counted thread stitch is used. Embroidery made with Huangpingshu counted thread stitch is often composed of geometric patterns with symmetrical composition and exquisite workmanship. The Miao like to use red thread for embroidery as the colour symbolises joy and vigour. Bright colours emphasize the expressiveness of Miao embroidery. Baby carrying belts are used by ethnic minorities to swaddle their babies. Miao women make these exquisite carrying belts as a direct demonstration of motherly love.&#13;
&#13;
（繁）背帶通體滿佈紅色刺繡，連綿不斷，小巧的紋樣排列十分有條理，雅緻井然。此背帶運用了數紗繡。黃平數紗繡圖案多以幾何紋為主，構圖對稱，做工精緻。苗族喜用紅色絲線刺繡，有喜氣、活力之寓意，鮮豔的色彩更凸顯了苗族刺繡的表現力。背帶是少數民族婦女背小孩時使用的用具，苗族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>贵州兰妈妈多彩衣妆苗绣博物馆馆藏 Lanmama Museum Collection</text>
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&#13;
(ENG) Batik fabric: a unique and distinctive piece, with overlapping circles and some areas decorated with fish-like illustrations. The fabric is produced with recycled wax. Recycled wax is wax that has been repeatedly used and is dark blue due to plant dye. Batik is a traditional craft with a history of over one thousand years. It is a technique that involves beeswax and dyeing. Miao women use melted beeswax to draw patterns on self woven white cloth. The cloth is then soaked into a barrel of indigo dye several times before it is taken out, then boiled in a pot to remove the wax and rinsed in water to remove the excess dye. Different white patterns are revealed when the wax is rinsed off.&#13;
&#13;
（繁）蠟染花片樸素簡約，以交疊的圓形為主軸，在部分重疊處繪上似魚的外觀，造型別緻。此花片運用了蠟染的製作技巧，並使用回收蠟製作。回收蠟即反複使用的蠟，因被植物染色故呈現深藍色。蠟染即蠟畫和染色，是延續千年的民間傳統工藝。苗族的蠟染技藝高超，融入幾何藝術之元素。風格獨特。</text>
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