浙江瓯绣 | 非物质文化遗产

瓯绣，亦名“温绣”，是浙江省温州市传统美术，国家级非物质文化遗产之一。瓯绣是从装饰生活用品逐渐发展起来的刺绣工艺，早期的绣品有神袍、戏装、寿屏等，后来又扩展到刺绣山水、人物、走兽、书法等，具有较高的观赏价值和装饰效果。

Ouembroidery, also known as "warm embroidery", is a traditional art in Wenzhou, Zhejiang Province, and one of the national intangible cultural heritage. Ouembroidery is an embroidery process that gradually developed from decorative daily necessities. Early embroidery items such as robes of gods, costumes, longevity screens, etc., and later expanded to embroidery landscapes, characters, beasts, calligraphy, etc., which has high ornamental value and decorative effect.

清代道光末年，瓯绣在温州已十分流行，民间形成了“十一十二娘梳头，十二十三娘教绣”的传统和以绣花罗裙作为青年男女定情礼物的风俗。当时开设的多家绣铺对外承接官衣锦服、戏装、旗袍等绣活，生意十分红火。

At the end of the Daoguang Dynasty in the Qing Dynasty, Ouembroidery has been very popular in Wenzhou, and the folk formed the tradition of "eleven twelve niang combing hair, twelve and thirteen niang teaching embroidery" and the custom of embroidered skirt as a gift for young men and women. At that time, several embroidery shops opened to undertake official clothing brocade clothing, costume, cheongsam and other embroidery work, business is very prosperous.

当时开设的多家绣铺对外承接官衣锦服、戏装、旗袍等绣活，生意十分红火。瓯绣构图简练，色彩绚丽，针法严谨，运针灵活擅变，绣理分明，绣面光亮，呈现着与众不同的东瓯地域特色。融诗文、书画、刺绣之美为一体的瓯绣讲究针法、笔法和物象理法的统一，显示出高超的技艺水平和深厚的传统文化内涵。

At that time, several embroidery shops opened to undertake official clothing brocade clothing, costume, cheongsam and other embroidery work, business is very prosperous. Ou embroidery composition is concise, colorful, rigorous stitching, flexible needle transport, clear embroidery, bright embroidery surface, showing the distinctive regional characteristics of East Ou. Integrating the beauty of poetry, calligraphy and painting, and embroidery, Ouembroidery pays attention to the unification of needlework, brushwork and material theory, showing superb skill level and profound traditional cultural connotation.

瓯绣即指已绣成的工艺美术品，也指制作这种绣品的工艺技术。 瓯绣的种类有彩色绣、素色绣、仿古绣、仿真绣、水墨绣、双面绣等。

Ouembroidery refers to the arts and crafts that have been embroidered, and also refers to the process of making this kind of embroidery. The types of Ou embroidery are color embroidery, plain embroidery, antique embroidery, imitation embroidery, ink embroidery, double-sided embroidery and so on.

特点

瓯绣的特点是构图精练，色彩绚丽、针法严谨、运针灵活善变、绣理分明、绣面光亮，具有鲜明的地域工艺特色，作品诗书画绣结合，绣时针法融笔法物象理法于一体，以针线传情，有着深厚的传统文化内涵和艺术、工艺研究价值及较高的欣赏收藏价值。

Our embroidery is characterized by a concise composition, gorgeous color, rigorous needle, flexible needle transport, clear embroidery, embroidery surface bright, with distinctive regional craft characteristics, the combination of works poetry, calligraphy and painting embroidery, embroidery needlework in one, with needle and thread to convey feelings, has a deep traditional cultural connotation and art, craft research value and higher appreciation of the collection value.

构图

画与绣同属造型艺术，但因使用工具和表现手法不同，艺术效果不尽相同，成功的绣品“较画更胜”。故刺绣画稿必须服务于刺绣技艺，不但要艺术地展现客观对象，还要顾及工时和成本。瓯绣绣稿做到了构图精巧，用笔工整，线条清晰，色彩鲜明，从而使绣品达到画绣合璧的境界。

Painting and embroidery belong to the same plastic arts, but because of the use of different tools and expression techniques, the artistic effect is not the same, successful embroidery "more than painting". Therefore, the embroidery painting must serve the embroidery technique, not only to show the objective object artistically, but also to take into account the working time and cost. Ouxiu embroidery manuscript to achieve the composition of exquisite, neat pen, clear lines, bright colors, so that embroidery to achieve the realm of painting embroidery.

绣理

要是指针法。刺绣是以针引彩线，把客观对象转化为艺术形象，是针画形象，故其独有的艺术语言即针法——用针排线的方法。瓯绣针法严谨，从传统针法到创新针法多达几十种。

If the pointer method. Embroidery is a needle to draw colored lines, the objective object into an artistic image, is the image of needle painting, so its unique artistic language is the needle - the method of needle line. Ouxiu stitch rigorous, from traditional stitch to innovative stitch as many as dozens of.

刺绣俗语说“绣花难绣缕”，而瓯绣艺人根据刺绣绘画作品笔法的走势特点，较好地把握了丝缕（丝理）变化的规律，灵活运用不同的针法。

Embroidery proverb says "embroidery is difficult to embroider the thread", and Ouxiu artists according to the trend characteristics of embroidery painting works, better grasp the law of silk (silk) change, flexible use of different stitches.

若绣人物，还特地找来衣料等实物以研究针法的表现，使绣品形象立体、结构生动。但于针不及之处，如作为背景的远山、云雾等，瓯绣则画绣结合，以绣带画，半绘半绣，虚实相应，不但省工，还使作品气韵生动。

If embroidering figures, but also specially to find clothing materials and other objects to study the performance of the stitch, so that the embroidery image three-dimensional, vivid structure. But in the needle less than the place, such as as the background of the distant mountains, clouds, etc., Ouxiu is a combination of painting embroidery, with embroidery painting, half painting half embroidery, virtual and real corresponding, not only save work, but also make the work lively.

色彩

瓯绣的色彩具有较强的民间工艺性，但以写实为主。据瓯绣老艺人回忆，温州瓯绣厂内摆设着各色应时盆花、鸟兽标本供绣工观摩学习。当年还曾组织绣工实地游览风景区，观察林木生长、山川形态，故绣品色彩源自生活而更艺术化，光鲜明快，富有装饰性和浓郁的浙南地方风味，寓大雅于大俗之中。

The color of Ou embroidery has a strong folk craft, but it is mainly realistic. According to the memories of old Ouembroidery artists, Wenzhou Ouembroidery factory is decorated with various kinds of seasonal potted flowers, birds and animals specimens for embroidery workers to watch and learn. At that time, embroiderers were also organized to visit the scenic spot to observe the growth of trees and the shape of mountains and rivers, so the embroidery color comes from life and is more artistic, bright and bright, full of decorative and rich local flavor of southern Zhejiang, blending elegance in the big common.

制作工序

Production process

1.画稿

瓯绣（丝）画片的绣稿，一般均由中国画高手画成，故画稿是瓯绣（丝）的第一道工序，也是瓯绣（丝）的根本。一幅画稿设计得好与坏，不只是虚实、神韵是否到位，较为重要的是要达到若添加一笔为多，如减少一笔为缺的地步，这是因为要顾及绣的工时和效果。瓯绣（丝）画稿多以墨线双勾轮廓，也有山水、花鸟等水墨画，注重远近、虚实等关系，使画面色彩更加丰富。

 Ouxiu (silk) pictures of the embroidery manuscript, are generally painted by Chinese painting masters, so the painting manuscript is the first process of Ouxiu (silk), but also the root of Ouxiu (silk). The good and bad design of a painting manuscript is not only virtual and real, whether the charm is in place, but the more important thing is to achieve the point that if you add more than one stroke, such as reducing one stroke for lack, this is because you have to take into account the working hours and effects of embroidery. Ouxiu (silk) paintings are mostly double-hook Outlines with ink lines, but also ink paintings such as landscapes, flowers and birds, focusing on the relationship between distance, virtual and real, so that the picture is more colorful.   

2.临缎

临缎就是将画稿拷贝到绣面上。传统的做法可在桌子上放一块玻璃板，画稿就铺在玻璃板上，再把绣缎覆在稿面上，玻璃板下点亮电灯，即可映出纹样，然后用毛笔或硬铅笔依样拷贝。但因绣面质地不同，或软缎，或色缎，或府绸等，故不但要注意描摹时勾画顿挫之微妙处，更要注意墨色的浓淡干湿，以使拷贝件不失画稿的神韵，又要保持拷贝件的清洁干净。所以，临缎是较用工夫也是较见功夫的活计。

Linde is to copy the painting to the embroidered surface. The traditional method can be placed on the table a glass plate, the painting is spread on the glass plate, and then the embroidery is covered on the surface of the manuscript, and the lamp is lit under the glass plate, you can map the pattern, and then copy it with a brush or a hard pencil. However, due to the different texture of the embroidery surface, or soft satin, or colored satin, or poplin, etc., it is not only necessary to pay attention to the subtleties of the sketch, but also to pay attention to the dry and wet color of the ink, so that the copy does not lose the charm of the painting, but also to keep the copy clean. Therefore, it is more time-consuming and more kung fu work.     

3.着色

着色指的是用水彩画颜料在绣面上着色，一般用于较大面积的远山、浮云，流水等。绣时或以较细的线稀针虚绣、断针虚绣，或渲染处不绣，以虚衬实、节省工时之外，突出了主题。着色也包括以毛笔敷彩直接在绣面上作画。     

Coloring refers to the use of watercolor paint on the embroidery surface coloring, generally used for a large area of distant mountains, floating clouds, water and so on. When embroidering, it highlights the theme, or embroiders it with thin thread, broken needles, or renders without embroidering, to contrast reality and save time. Coloring also includes painting directly on the embroidered surface with a brush.     

4.上绷

上绷，就是把绣地四边以棉线或麻线交叉固定在绷上，以使绣地四周边平且直。但又不可绷得太紧，否则放绷后绣地纹样易变形。要做到绣地松紧适中，实在也不是一件易事，要有多年的实践经验。

To stretch is to fix the four sides of the embroidered ground on the stretch with cotton or hemp thread to make the four sides of the embroidered ground flat and straight. However, it should not be stretched too tight, otherwise the embroidery pattern is easy to deform after being stretched. It is not an easy task to achieve the moderate tightness of the embroidery, and it is necessary to have years of practical experience.

6.刺绣

刺绣即绣线穿针后，一手在绷上，一手在绷下，不断地起针﹑落针的过程，它是绣品成败的关键。所以，在动手前，必须对整幅绣稿多看几眼，理解其构图、层次、用色等，然后尽可能配齐所需色线，进而确定各部位不同的针法，以便胸有成竹。至于所绣纹样的顺序，可据个人习惯而定，只要做到从左至右绣起，拉线时用力均匀及暗针、针脚的处理等事宜即可。

Embroidery means that after threading the needle, one hand is stretched, the other hand is stretched, and the process of constantly lifting and falling the needle is the key to the success of the embroidery. Therefore, before starting, it is necessary to look at the whole embroidery manuscript, understand its composition, level, color, etc., and then match the required color lines as much as possible, and then determine the different stitches in each part, to be confident. As for the order of the embroidered pattern, it can be determined according to personal habits, as long as it is embroidered from left to right, the force is uniform when drawing the thread and the handling of the dark needle and stitch.

7.开衣纹、头面

开衣纹、头面这两项本就包括在刺绣过程中，把它另列说明，只是强调它是另一道工序。一般初学者以平针铺地绣时，会把原来的衣纹，头面关键处的线条盖住（多指古代人物），于是须用毛笔重新将人物的衣纹、头面或动物（狮、虎等）的须眉开出，再由技术较熟练的工人（高级工）绣上。

The two items of open clothing pattern and head are included in the embroidery process, and it is explained separately, just to emphasize that it is another process. Generally, when beginners embroider the floor with a flat needle, they will cover the original clothing pattern and the key line of the head (mostly referring to ancient figures), so they must use a brush to re-open the clothing pattern of the figure, the head or the beard of the animal (lion, tiger, etc.), and then the more skilled workers (senior workers) will embroider it.

 传承与价值

Inheritance and value

温州的社会文化融合在瓯绣工艺的发展变迁中。作为一种传统工艺，它在古温州拜鬼神、尚祭祀的文化下诞生，随后又与温州永嘉学派思想、西方非实用性思想、百姓审美观、经济水平、当地民间宗教、行政区域规划等因素发生了千丝万缕的联系。瓯绣不仅仅只是一种绣品或工艺，它同时还是温州文化的积淀，是社会文化的载体，更是审视温州历史变迁的一条重要线索，人们从中更能窥视大时代背景下温州的社会文化发展。

The social and cultural integration of Wenzhou is in the development and change of Ouembroidery craft. As a traditional craft, it was born under the culture of worship of ghosts and gods and sacrifice in ancient Wenzhou, and then it was inextricably linked with Wenzhou Yongjia School thought, Western non-practical thought, common people's aesthetic perception, economic level, local folk religion, administrative regional planning and other factors. Our embroidery is not only a kind of embroidery or craft, it is also the accumulation of Wenzhou culture, the carrier of social culture, but also an important clue to examine the historical changes of Wenzhou, from which people can better peek at the social and cultural development of Wenzhou under the background of The Times.