濟(jì)南發(fā)絲繡國畫意境的完整留存

Hair Embroidery Exclusive to Jinan

Xu Xiuling

Representative successor of Lu

Embroidery, provincial intangible cultural heritage.

徐秀玲

省級(jí)非物質(zhì)文化遺產(chǎn)魯繡代表性傳人

Xu Xiuling working on the embroidery of Autumn colours on the Qiao and Hua Mountains.徐秀玲繡制《鵲華秋色圖》

Nihao: What makes Jinan hair embroidery so special?

Xu: To produce a typical Jinan hair embroidery work, the master needs to adopt complext traditional techniques such as degreasing and dyeing to obtain different colours of hair. According to the artistic effect of the works, people combine hair with silk thread and embroider manually onto cloth. This particular method makes the eyebrows, beard, animal feathers and horsetails look more real. Besides, hair embroidery can also demonstrate the smooth strokes of calligraphy works. The Record of Gu Embroidery publishedin Qing Dynasty mentioned Jinan hair embroidery and proved that it is exclusive to Jinan. In addition, Jinan hair embroidery usually takes Jinan's famous person and the local sceneries as its main themes. I used to spend three years on the embroidery of Zhao Mengfu's Autumn colours on the Qiao and Hua mountains. This embroidery work shows the landscape of two famous mountains in Jinan - the Qiao Mountain and the Hua Mountain, while retaining the original conception of the origional painting.

Nihao: Have you tried to let more people know about Jinan hair embroidery?

Xu: Yes, I have tried to pass on my knowledge to more people. Learning Lu embroidery is timeconsuming and of low economic efficiency, so few people can persist on it. Very few people can be well-trained with a certain level of embroidering techniques. I am delighted to say that I actually have an apprentice who has been wlalking down the lane for ten years, which gives me hope for Lu embroidery. I have also carried out activities outside Shandong province, so as to let more people know about Jinan hair embroidery. I was once invited to stay in Macao for 20 days and demonstrate my embroidery skills to the audience.

Nihao：濟(jì)南發(fā)絲繡作為魯繡的亮點(diǎn)品類，它的主要特色在哪？

徐：發(fā)絲繡的工藝相比其它種類更為復(fù)雜，需要運(yùn)用傳統(tǒng)技術(shù)將發(fā)絲脫脂、染色，從而獲得顏色各異的發(fā)絲。根據(jù)作品要表現(xiàn)的藝術(shù)效果，將發(fā)絲結(jié)合絲線，在底布上進(jìn)行手工繡制。加入發(fā)絲后，刺繡作品中人物的眉毛、胡子和頭發(fā)，動(dòng)物的羽毛、馬尾等看起來顯得更立體。此外，發(fā)絲繡能夠很好地展現(xiàn)國畫的意境。發(fā)絲繡還可以表現(xiàn)書法作品，能夠?qū)⒐P畫的連接流暢地體現(xiàn)出來。清朝出版的《顧繡考》中有關(guān)于“濟(jì)南發(fā)絲繡”的記載，證明這一獨(dú)特品類為濟(jì)南獨(dú)有。

此外，“濟(jì)南發(fā)絲繡”通常以濟(jì)南文化名人和當(dāng)?shù)仫L(fēng)景為主題。比如曲阜市博物館收藏的《孔子繡像》，濟(jì)南博物館收藏的《李清照繡像》等。我曾經(jīng)花了三年時(shí)間繡制了趙孟頫的《鵲華秋色圖》，用濟(jì)南獨(dú)有的繡法體現(xiàn)了濟(jì)南兩大名山——華不注和鵲山的風(fēng)光，完整地保留了原畫的意境。

Nihao:你是否嘗試過讓更多人了解魯繡？

徐：有。我主要通過教學(xué)和展演來傳播魯繡知識(shí)。魯繡的學(xué)習(xí)耗時(shí)長、經(jīng)濟(jì)效益見效慢，所以一般人學(xué)不久，能真正培養(yǎng)出來并能達(dá)到一定繡制水平的屈指可數(shù)。值得欣慰的是，目前我?guī)У囊粋€(gè)徒弟已經(jīng)堅(jiān)持了十幾年，讓我看到了魯繡的希望。另外，魯繡也積極開展社會(huì)活動(dòng)，比如在濟(jì)南市文化局舉辦公益?zhèn)髁?xí)。魯繡還嘗試過走出山東省，我曾經(jīng)受邀在澳門進(jìn)行了20天的魯繡絕技展演，讓澳門同胞領(lǐng)略到魯繡之美。