摘要
贵州剑河苗族红绣服饰“母花”是当地制作红绣的女性“存取”服饰图案造型织绣工艺的图像文本。红绣服饰“母花”图案造型样式有复合式和独立式两种结构,其结构内“存储”了大量重复出现的纹样构成“模件”,红绣女性通过替换和重组这些构成“模件”可扩展出“无限”的图案样式,这体现了她们高度系统化的造型思维。“母花”是指导图案造型工艺的“操作指南”,红绣女性用“数纱”的方式在经纬交织的“母花”布本上“提取”织绣纹样造型挑纱走线的连接路径,并按此路径逐步地临摹连接走线的工序,从而实现了图案的成型。剑河苗族红绣女性在传承“母花”图案的集存性、工艺指导性的历史过程中,延续了苗民族集体记忆的身体再现,维系了族群的文化共性与个性,稳固了族群的身份标识,见证了剑河苗族红绣服饰文化的物质表现形式和历史文化。
Miao people’s attire“Muhua”with Hongxiu embroidery in Jianhe county,Guizhou province,serves as the image-textual paradigm for the local female artisans who“save and withdraw”the patterns and techniques of Hongxiu embroidery.“Muhua”patterns encompass two structures,that is,the composite and independent ones,which consist of numerous repeated motifs,akin to“modules”that“store”a vast array of designs.Through the substitution and reconfiguration of these modules,female Hongxiu embroidery artisans expand the possibilities of their pattern styles,reflecting their highly systematized aesthetic principles.“Muhua”serves as a guidebook for pattern design,guiding the women to trace the embroidery threads on a fabric base adorned with intricate weaving.By meticulously mimicking these patterns of threads,they make the formation of these patterns possible.As they pass down the collective memory of“Muhua”through its preservation and transformation,the female artisans of Miao people sustain their cultural identity with Hongxiu embroidery while preserving their unique traits.They have solidified the cultural identity of Miao people in Jianhe county,Guizhou province,serving as both a physical manifestation and historical testament to their culture of Hongxiu embroidery.
作者
曹寒娟
周梦
CAO Hanjuan;ZHOU Meng(Academy of Fine Arts,Minzu University of China,Beijing 100080,China)
出处
《贵州大学学报(艺术版)》
2025年第1期37-46,共10页
Journal of Guizhou University Art Edition
基金
2019国家社科基金艺术学项目“基于贵州苗族女性传统服饰技艺的创新设计研究”(项目编号:19BG120)。
关键词
剑河苗族
红绣母花
图案造型
成型技艺
Miao people in Jianhe county
“Muhua”(the image-textual paradigm)in Hongxiu embroidery
pattern modeling
formation
craftsmanship
