黄梅挑花与十字绣的对比研究
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摘要
综述黄梅挑花与十字绣的发展历程,从社会人类学视角出发,采用田野调查法和文献研究法,对二者进行针法技艺和艺术特征对比。研究表明,从发展历程来看,黄梅挑花流传于民间,而十字绣呈现出流行于欧洲宫廷再传至民间的不同发展轨迹;从针法技艺上看,二者由于绣布及工艺要求的不同存在着成品的差异;从艺术特征上看,黄梅挑花和十字绣的不同主要体现在图案造型和色彩关系两个方面。以期在承认二者差异性的基础上对刺绣文化多样性有更深的理解。
This paper summarizes the development of Huangmei flower-stitching and cross-stitching, and compares the needling skills and artistic characteristics of Huangmei flower-stitching and cross-stitching from the perspective of Social Anthropology with the methods of field investigation and literature research. Research shows that from the perspective of development process, Huangmei flower-picking has spread to the folk, while cross-stitch shows different development trajectories which are popular in European palaces and then spread to the folk; from the perspective of needle technique, there are differences in finished products between them due to the different requirements of embroidery and technology; from the perspective of artistic characteristics, the differences between Huangmei flower-picking and cross-embroidery are mainly reflected in the relationship between pattern and color.Noodles. In order to have a better understanding of the diversity of embroidery culture on the basis of recognizing the differences between them.
This paper summarizes the development of Huangmei flower-stitching and cross-stitching, and compares the needling skills and artistic characteristics of Huangmei flower-stitching and cross-stitching from the perspective of Social Anthropology with the methods of field investigation and literature research. Research shows that from the perspective of development process, Huangmei flower-picking has spread to the folk, while cross-stitch shows different development trajectories which are popular in European palaces and then spread to the folk; from the perspective of needle technique, there are differences in finished products between them due to the different requirements of embroidery and technology; from the perspective of artistic characteristics, the differences between Huangmei flower-picking and cross-embroidery are mainly reflected in the relationship between pattern and color.Noodles. In order to have a better understanding of the diversity of embroidery culture on the basis of recognizing the differences between them.
引文
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[2]黄梅县非物质文化遗产保护中心.黄梅挑花[M].武汉:长江出版社,2016.
[3]伍德,贺爱萍.经典十字绣作品大全[M].郑州:河南科学技术出版社,2012.
[4]于杰影,王宏付.庐阳花布与十字绣纹样[J].纺织科技进展,2015(4):13.
[5]李国萍.十字绣在维吾尔族衬衣上的应用与思考[J].天津纺织科技,2016(2):46-48.
[6]拉德克利夫-布朗.社会人类学方法[M].北京:华夏出版社,2002.
[7]王心悦.黄梅桃花作品欣赏[J].服饰导刊,2016(1):25.
[8]饶平山.黄梅挑花的审美特色[J].文艺研究,2009(9):156-157.
[9]崔荣荣,屈佳宁.现代十字绣工艺的商业化发展[J].徐州工程学院学报,2015(1):94-98.
[10]赵静.黄梅挑花艺术特色解析[J].丝绸,2014,51(1):70-74.
[11]湖北省群众艺术馆.湖北民间美术探源[M].武汉:湖北美术出版社,1987.
[12]宫科.写实油画的精神品格[D].长春:东北师范大学,2010.
[13]方园.论湖北黄梅挑花艺术[J].中南民族大学学报,2010,30(6):162-165.
[14]石雪峰.黄梅挑花绽放天下[J].湖北文史,2018(2):162-169.
[15]杨艳君,苏皓男.黄梅挑花的数字化保护策略研究[J].美术大观,2018(3):112-113.
[16]杨艳君,苏皓男.从市场态特征看黄梅挑花的创新与发展[J].装饰,2018(2):96-98.