China
hair embroidery
发绣
Hair embroidery
发绣是以人的天然色泽发丝为材料，
以针为工具，遵循造型艺术的规律，
在绷平整的布帛上施针度线创造艺术形象的民间手工艺。
Hair embroidery is made from the natural colour of human hair, Using needles as tools and following the laws of plastic arts, A folk handicraft that creates artistic images by applying needle and thread on flat fabrics.
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发绣最早起源于唐朝上元年间，是以头发丝为原料，结合绘画与刺绣制作的艺术品，刚开始是为了表达对佛祖的虔诚，后到元明时期题材逐渐广泛。 发绣多为国家收藏珍品或外交礼品。
Hair embroidery originated in the Tang Dynasty during the Shang and Yuan Dynasties. It is a work of art made from hair threads, combined with painting and embroidery. At first, it was intended to express devotion to Buddha, and later during the Yuan and Ming Dynasties, the themes gradually became more diverse. Hair embroidery is often a national collection treasure or diplomatic gift.
传统艺术
Traditional art
发绣是以人的天然色泽发丝为材料，以针为工具，遵循造型艺术的规律，在绷平整的布帛上施针度线创造艺术形象的民间手工艺。 温州发绣始于元代，传承至今,素有“天下一绝”之美誉，属于国家级非物质文化遗产代表性项目， 主要传承基地建在温州大学（温州大学发绣研究院）。
Hair embroidery is a folk handicraft that uses human natural colour hair as material, needles as tools and follows the laws of plastic arts. It creates artistic images by applying needles and threads on flat fabrics. Wenzhou hair embroidery originated in the Yuan Dynasty and has been passed down to this day. It is known as a "masterpiece in the world" and is a representative project of national intangible cultural heritage. The main inheritance base is located at Wenzhou University (Wenzhou University Hair Embroidery Research Institute).
头发在传统文化中具有丰富的人文内涵。发绣作品具有浓郁的民俗内涵和独特的传情魅力，是爱情、亲情和友情的艺术表达，被认为是距离人的情感最近的手工艺术。温州发绣是以人的天然色泽发丝为材料，以针为工具，遵循造型艺术的规律，在绷平整的布帛上施针度线创造形象的民间手工艺。就用发而言，可分为两种：一种是单色发绣，即以同一人种的头发为材料进行创作；另一种是彩色发绣，即用不同人种的头发合绣或做底补色。
Hair has rich humanistic connotations in traditional culture. Hair embroidery works have rich folk connotations and unique emotional charm and are artistic expressions of love, family, and friendship. They are considered the closest handmade art to human emotions. Wenzhou hair embroidery is a folk handicraft that uses human natural colour hair as material, needles as tools and follows the laws of plastic arts. It creates images by applying needles and threads on flat fabrics. In terms of hair use, it can be divided into two types: one is monochrome hair embroidery, which uses hair of the same race as the material for creation; Another type is coloured hair embroidery, which involves using hair from different ethnicities to embroider or add colour to the base.
温州发绣以“应物施针、法随心意”为创作理念，巧用针脚的疏密变换、叠加复层来塑造形象，不同于传统丝线绣的密针排线封底密透。绣面丝理清晰，质感独特，素色淡雅，变化微妙，展现出精致细腻、高贵典雅的艺术气质，具有审美价值、收藏价值、文化研究价值和国际传播价值，曾被作为国礼赠送给外国元首，在国际交往中发挥独特作用，享有“发绣外交”之说。
Wenzhou hair embroidery is based on the creative concept of "applying needles according to the object, and following the method according to the heart". It skillfully uses the density and layering of the stitches to shape the image, which is different from traditional silk embroidery's dense needle arrangement and thread sealing. The embroidery surface has a clear silk texture, unique texture, elegant and plain colours, and subtle changes, and displays a delicate, noble and elegant artistic temperament. It has aesthetic value, collection value, cultural research value, and international dissemination value. It has been given as a national gift to foreign heads of state and has played a unique role in international exchanges, enjoying the saying of "embroidery diplomacy".
远在唐代，东台西溪有佛教信女剃下自己的头发绣成大慈大悲的菩萨顶礼膜拜，成为发绣的最早记录。据《女红传征略》记载，宋代已有发绣《妙法莲华经》。元代女画家管仲姬绣制的《观音像》，其观音的发丝、眉毛、眼睛等部位都以人发绣制，现藏南京博物院。明代夏明远的发绣《黄鹤楼》《滕王阁》，后人称其侔于鬼工。浙江倪仁吉的发绣《大士像》，神态端庄，现藏北京故宫博物院。清代，有的贞女、孝妇和尼姑剪下自己的青丝,绣制《观音像》《如来佛》等，以示虔诚。
As far back as the Tang Dynasty, there were Buddhist believers in Xixi, Dongtai who shaved their hair and embroidered it into a bodhisattva of great compassion to worship, becoming the earliest record of hair embroidery. According to the "Biography of Women's Red Mansions", the Song Dynasty had already embroidered the "Lotus Sutra of Miao Fa". The "Guanyin Statue" embroidered by Guan Zhongji, a female painter of the Yuan Dynasty, features the hair, eyebrows, eyes, and other parts of Guanyin embroidered with human hair. It is currently housed in the Nanjing Museum. The hair embroidery of Xia Mingyuan in the Ming Dynasty, including "Yellow Crane Tower" and "Tengwang Pavilion," was later referred to as "ghost work. Ni Renji's hair embroidery "Portrait of a Grand Master" from Zhejiang, with a dignified expression, is currently housed in the Palace Museum in Beijing. In the Qing Dynasty, some chaste women, filial piety women, and nuns cut off their own green silk and embroidered works such as "Guanyin Statue" and "Tathagata Buddha" to show their piety.
在古老而绚丽的中国刺绣史上，发绣有着神奇而独特的地位。史料考证，迄今为止发现的最早发绣是，现存于英国伦敦博物馆所藏的《东方朔像》，相传为南宋皇帝赵构之妃刘安所绣；早期发现的发绣还有，日本正仓院所藏《弥勒佛》像，出自明代韩希孟之手：《唐宋元明名画大观》影印本中的《滕王阁图》和《黄鹤楼图》系明代夏明远的两件发绣；上海博物馆收藏的明代嘉靖年间《倚琴伫月图》，以及成都文殊院藏有清代道光五年陕西总督杨延春之女的《水月观音》等，均为传世珍品，被后人誉为“细若纹睫，侔于鬼工”的神来之作。
In the ancient and splendid history of Chinese embroidery, hair embroidery holds a magical and unique position. According to historical research, the earliest embroidery discovered so far is the "Dongfang Shuo Statue" currently housed in the London Museum in the UK, which is said to have been embroidered by Liu An, the consort of Emperor Zhao Gou of the Southern Song Dynasty; Early discovered hair embroidery includes the "Maitreya Buddha" statue in the Masakura Palace of Japan, which was created by Han Ximeng during the Ming Dynasty. The "Tengwang Pavilion" and "Yellow Crane Tower" in the photocopy of "Tang Song Yuan Ming Famous Paintings Grand View" are two hair embroidery pieces by Xia Mingyuan during the Ming Dynasty; The painting "Leaning on the Qin and Gazing at the Moon" from the Jiajing period of the Ming Dynasty, collected by the Shanghai Museum, and the "Water Moon Guanyin" by the daughter of Yang Yanchun, the governor of Shaanxi Province in the fifth year of the Daoguang reign of the Qing Dynasty, collected by the Wenshu Academy in Chengdu, are both treasures that have been passed down through generations and are praised by later generations as divine works that are "as fine as tattooed eyelashes, and as delicate as ghost work".
中国发绣主要产于江苏省的苏州、东台以及山东省的济南、青岛等地。后几经沉浮，发绣逐渐成为一门极富象征意义和美感，技术技巧要求很高的中国民间艺术。国内外多家博物馆都收藏有中国发绣精品。并先后有十多件作品作为国礼相赠国际友人。
Chinese hair embroidery is mainly produced in Suzhou and Dongtai in Jiangsu Province, as well as Jinan and Qingdao in Shandong Province. After several ups and downs, hair embroidery gradually became a highly symbolic and aesthetically pleasing Chinese folk art with high technical requirements. Many museums at home and abroad have collections of exquisite Chinese hair embroidery. And more than ten works have been presented as national gifts to international friends.
以人发代替丝线的刺绣。发绣用的人发需经过选择，并利用人发黑、白、灰、黄等色泽和细柔、光亮的特点，运用接针、滚针、切针、缠针等针法绣制字画，针迹细密，风格雅洁，犹如国画中的白描。发绣所用画作主题多样，包括中国山水画，中国书法，人物画像，动植物写意等，富东方艺术气息。其制作工艺复杂，耗工惊人。头发经过收集，洗染和化学处理之后，被发绣艺人用之为线，历经数月甚至数年的辛勤劳动才能完成一幅发绣作品。因头发有粗，圆，不服帖等特点，要让作品达到“平，亮，均匀，自然”的效果，仅艺人们所用的针法就达近十种。
Embroidery using human hair instead of silk thread. The human hair used for hair embroidery needs to be selected, and the characteristics of black, white, grey, yellow and other colours, as well as softness and brightness, should be utilized to embroider calligraphy and painting using needlework techniques such as stitching, rolling, cutting, and wrapping. The stitches are fine and the style is elegant, just like white drawing in traditional Chinese painting. The themes of the paintings used in hair embroidery are diverse, including Chinese landscape paintings, Chinese calligraphy, character portraits, freehand brushwork of animals and plants, etc., which are rich in Eastern artistic atmosphere. Its production process is complex and labour-intensive. After collection, washing, dyeing, and chemical treatment, hair is used as thread by hair embroidery artists, and it takes months or even years of hard work to complete a hair embroidery work. Due to the characteristics of thick, round, and non-fitting hair, to achieve a "flat, bright, even, and natural" effect in the work, artists alone use nearly ten types of needlework.
温州发绣
温州发绣以“应物施针、法随心意”为创作理念，巧用针脚的疏密变换、叠加复层来塑造形象，不同于传统丝线绣的密针排线封底密透。绣面丝理清晰，质感独特，素色淡雅，变化微妙，展现出精致细腻、高贵典雅的艺术气质，具有审美价值、收藏价值、文化研究价值和国际传播价值，曾被作为国礼赠送给外国元首，在国际交往中发挥独特作用，享有“发绣外交”之说。
Wenzhou Hair Embroidery
Wenzhou hair embroidery is based on the creative concept of "applying needles according to the object, and following the method according to the heart". It skillfully uses the density and layering of the stitches to shape the image, which is different from traditional silk embroidery's dense needle arrangement and thread sealing. The embroidery surface has a clear silk texture, unique texture, elegant and plain colours, and subtle changes, and displays a delicate, noble and elegant artistic temperament. It has aesthetic value, collection value, cultural research value, and international dissemination value. It has been given as a national gift to foreign heads of state and has played a unique role in international exchanges, enjoying the saying of "embroidery diplomacy".
东台发绣
东台发绣：唐朝上元年间，东台西溪海盐盐监位列全国十大盐监之首，盐业鼎盛，但缺乏丝绸原料，于是西溪人想到用少女的头发绣制佛像，表示对佛祖的虔诚，于是发绣艺术在西溪诞生了。后因时代发展，发绣在东台逐渐衰落，二十世纪六十年代，一场史无前例的政治运动驱使大批苏南居民下放农村，许多艺人、画师、绣女来到东台，他们将苏绣的技艺融合到发绣艺术之中。
Dongtai Hair Embroidery
Dongtai Hair Embroidery: During the Tang Dynasty's Shangyuan period, Dongtai Xixi Sea Salt Factory ranked first among the top ten salt factories in the country. The salt industry was flourishing but lacked silk raw materials. Therefore, Xixi people thought of using a girl's hair to embroider Buddha statues, expressing their devotion to the Buddha. Thus, hair embroidery art was born in Xixi. Due to the development of the times, hair embroidery gradually declined in Dongtai. In the 1960s, an unprecedented political movement drove a large number of residents from southern Jiangsu to migrate to rural areas. Many artists, painters, and embroiderers came to Dongtai and integrated the skills of Su embroidery into the art of hair embroidery.
苏州发绣
苏州发绣：作品淡雅清隽，卓尔不群。其发展经历了从兴起到衰落到复兴的历程。在70年代初，苏州刺绣研究所创始人之一的高伯瑜先生从江苏东台带回了发绣技艺，使发绣艺术在苏州得到成长，焕发了青春。高伯瑜之女周莹华继承了父亲的意愿，并对发绣进行了一系列的技术改良。
Suzhou Hair Embroidery
Suzhou hair embroidery: The works are elegant, clear, and elegant, standing out from the crowd. Its development has gone through a process from rise to decline to revival. In the early 1970s, Mr. Gao Boyu, one of the founders of Suzhou Embroidery Research Institute, brought back the art of hair embroidery from Dongtai, Jiangsu, which led to the growth and rejuvenation of hair embroidery art in Suzhou. Gao Boyu's daughter Zhou Yinghua inherited her father's wishes and made a series of technical improvements to hair embroidery.
发绣是中国传统艺术中的瑰宝之一，
具有深厚的文化内涵和艺术价值。
Hair embroidery is one of the treasures in traditional Chinese art and has profound cultural connotations and artistic value.
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