【摘要】：刺繡是中國傳統(tǒng)手工藝中專屬婦女的獨(dú)特一支。它的傳承不僅僅發(fā)生在作坊里,更普遍的是發(fā)生在家庭中,這保持了刺繡者幽閑貞靜的創(chuàng)作狀態(tài),但也限制了刺繡的創(chuàng)新和發(fā)展。作為一門女紅技巧,刺繡長期以來得不到藝術(shù)殿堂的認(rèn)可,也得不到理論研究界的重視,為文化史界忽略。其實(shí)中國傳統(tǒng)刺繡在漫漫發(fā)展歷程中,除了實(shí)用性、裝飾性、民俗性及技巧成分,也包涵著相當(dāng)程度的書畫藝術(shù)性,從宋代繡畫到晚明顧繡,文獻(xiàn)記錄中不乏“針神”之贊譽(yù),相當(dāng)一部分保存至今的古代繡畫精品呈現(xiàn)了刺繡技法與繪畫功力的完美結(jié)合,具有很高的研究價(jià)值�！袄C”與“繪”之溯源比較顯示刺繡與繪畫自古關(guān)系密切,刺繡的工具——“針”的名稱發(fā)展探源亦暗示其文化內(nèi)涵。中國江南傳統(tǒng)刺繡與繡畫有著久遠(yuǎn)密切的聯(lián)系,繡畫傳統(tǒng)始終是其最突出的特征。與文人畫緊密結(jié)合的歷代繡畫之巔峰——晚明顧繡就誕生于松江地區(qū),并深刻影響了明清江南蘇繡的發(fā)展。中國第一本刺繡專書清代云間丁氏《繡譜》也誕生于此。本文將追溯中國江南傳統(tǒng)刺繡之代表——“蘇繡”的歷史,著眼于對繡畫傳統(tǒng)的挖掘,聚焦于顧繡和丁氏《繡譜》,從個(gè)案的文獻(xiàn)整理及理論的文本分析兩個(gè)角度切入,并通過對繡與繪、針與箴的史學(xué)溯源,及歷代女性繡繪兼?zhèn)湔叩谋容^搜集,來對中國江南傳統(tǒng)刺繡中的繡畫的“藝”之內(nèi)涵進(jìn)行有美術(shù)史研究價(jià)值的針對性闡述,同時(shí)結(jié)合今日蘇繡之鄉(xiāng)鎮(zhèn)湖的考察調(diào)研為其發(fā)展提供有益的啟示。
[Abstract]:Embroidery is a unique branch of traditional Chinese handicraft for women. Its inheritance occurred not only in the workshop, but also in the family, which kept the stillness of embroidery, but also limited the innovation and development of embroidery. As a female red technique, embroidery has not been recognized by the art hall for a long time, and has not been attached importance to by the theoretical research circles, which has been neglected by the cultural history circle for a long time. In fact, in the course of the long development of Chinese traditional embroidery, in addition to its practicability, decoration, folklore and technical elements, it also contains a considerable degree of calligraphy and painting artistry. From embroidery in the Song Dynasty to Gu embroidery in the late Ming Dynasty, there is no lack of praise from the "needle god" in the documentary records. A considerable part of the ancient embroidery works that have been preserved up to now presents a perfect combination of embroidery techniques and painting skills, which has high research value. The comparison between "embroidery" and "painting" shows that embroidery is closely related to painting since ancient times, and the development of the name of "needle", the tool of embroidery, also implies its cultural connotation. Chinese traditional embroidery and embroidery painting have long been closely linked, embroidery tradition has always been its most prominent characteristics. The peak of the embroidery paintings of the past dynasties, which was closely combined with literati paintings, was born in the Songjiang area in the late Ming Dynasty, and deeply influenced the development of Suzhou embroidery in the southern part of the Yangtze River in the Ming and Qing dynasties. China's first embroidery book, the Qing Dynasty Yunjian Ding's embroidery spectrum also came into being here. This paper will trace back to the history of "Su embroidery", the representative of traditional embroidery in the south of the Yangtze River of China, focus on the excavation of the traditional embroidery painting, focus on Gu Xiu and Ding's "embroidery Spectrum", and cut it into two aspects from the two angles of document arrangement and theoretical text analysis. And through tracing back to the history of embroidery and painting, the history of needle and pro, and the comparative collection of women who have both embroidery and painting in the past dynasties, this paper expounds the connotation of the "art" of the traditional embroidery painting in the south of the Yangtze River in China, which has the value of art history research. At the same time, combined with the investigation and investigation of the village lake of Suzhou embroidery today, it provides beneficial enlightenment for its development.
【學(xué)位授予單位】：中國美術(shù)學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2016
【分類號】：J523.6
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本文編號：2317123