Full bibliography

粵繡工藝及修復研究: 以私人收藏的一組四件樣品為例 = THE CRAFT AND CONSERVATION OF CANTONESE EMBROIDERY: A CASE STUDY OF A SERIES OF FOUR SAMPLES FROM A PRIVATE COLLECTION

University of Saint Joseph

Macau

2024

139

chi

粵繡工藝及修復研究

Library Catalog (Koha)

M-HHS 2024 LOU,FON

Cantonese embroidery is a type of decorative embroidery popular in the Lingnan region, including Macao and Hong Kong. While the origin of this crafting style can be traced back to the Tang Dynasty, it flourished in the Ming and Qing Dynasties. Cantonese embroidery developed into a distinctive art form by skillfully combining different materials and stitches, such as silk thread, gold and silver thread, beadwork, flat embroidery, convex embroidery, velvet embroidery, etc., to produce vivid patterns that are varied in craftsmanship. Benefiting from Canton’s geographical advantages, Cantonese embroidery broadened its reach from domestic consumption to the export market along the Maritime Silk Road. It is celebrated as one of the four great embroideries, together with Su, Xiang, and Shu embroideries, in China. Cantonese embroidery can be divided into three main categories: Guangzhou embroidery, Chaozhou embroidery and Bead embroidery. Guangzhou embroidery is more commonly found in Chinese opera costumes as well as embroidered characters and paintings for the vivid images and clear textures. Chaozhou embroidery is the crafting method used mainly for costumes, with its unique embossed effect and strong regional colors. Bead embroidery is mostly used for daily wear, such as cheongsam, shoes, headdresses, etc., and is characterized by large areas of beads and sequins sewn together, which gives out a gorgeous glistening effect when illuminated. Guangzhou embroidery and Chaozhou embroidery were successfully recognized in the first batch of China’s list of national intangible cultural heritage in the category of traditional fine arts in 2006. Bead embroidery followed suit in the fifth batch in 2021. This thesis examines an early Republican four-panel Cantonese embroidery screen from a private collection to investigate, assess, and determine issues of materials, craftsmanship, content and meaning of the motifs, preservation conditions, and characteristics of diseases, etc., and, accordingly, conducted supervised restoration work on this artifact. In addition, upon examining the Cantonese embroidery artifacts in various local cultural and art museums as well as combing through the ""Anuario comercial e industrial de Macau"" and the Jornal ""Va Kio""’s Historical Database (1937-2015) in the twentieth century for materials about Cantonese embroidery, we learned that the Gu embroidery industry was once a small but noted industry in Macau. This embroidery style was popular in folk and ethnic style clothing as well as in Eastern and Western religious and folk art, indicating that Cantonese embroidery was particularly favored by the middle and upper classes in Macau. In addition, the rise of the textile industry in Macau in the second half of the twentieth century also stimulated the growth of bead embroidery in Macau 粵繡是指流行於嶺南地區，包括澳門及香港的一種刺繡裝飾，此工藝可上溯至唐，而盛於明、清二代。粵繡透過搭配不同的衣飾物料和針法，如：絲線、金銀線、串珠，平繡、凸繡、絨繡等，再以精細嫻熟的技藝繡出活靈活現的圖案，其工藝變化多樣，最終形成獨樹一幟的風格。得益於地理上的優勢，粵繡隨海上絲綢之路而發展，由內銷轉為出口，與蘇繡、湘繡、蜀繡並列為中國四大名繡。粵繡主要分為廣繡、潮繡及珠繡三大類：廣繡除戲服外，較常見的是刺繡字畫，因作品形象傳神、紋理清晰而廣受歡迎；潮繡以戲服為主，其浮凸效果獨一無二，有著強烈的地域色彩；珠繡多見於日用服飾，如旗袍、鞋面、頭飾等，其特點是大面積以珠子及亮片釘縫，光照下呈現閃耀華麗效果。粵繡中的廣繡和潮繡，以及後來的珠繡分別於2006年及2021年，成功申報為中國首批及第五批傳統美術類別的國家級非物質文化遺產項目之一。 是項研究，輔以一組四件私人收藏民初時期的廣繡通景屏為研究實例，針對其物料、工藝技術、圖案內容及含義、保存狀況、病害特徵等進行研究，並在指導下對刺繡文物開展修復實踐。此外，考察了本地多家文博機構所藏的粵繡文物，以及梳理了二十世紀的《澳門工商年鑑》和華僑報歷史資料庫（1937至2015年）中與粵繡相關的資料，可知顧繡業在本澳屬較小規模的傳統行業之一，除銷售民俗服飾外，也見諸於多種東、西方宗教和民間藝術品之上，反映出粵繡較受本澳中上階層人士所青睞，同時，二十世紀下半葉，隨著澳門紡織業的興起，也帶動了珠繡在澳門的發展。In Partial Fulfillment of the Requirements for the Degree of Master of History and Heritage Studies in the Faculty of Arts and Humanities University of Saint Joseph, Macau, 02/2024Supervisor : Cheng Wah Kwan

• Master Dissertations
  • Faculty of Arts and Humanities
    • History and Heritage Studies