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韩希孟是顾绣发展史上最负盛名的代表性人物。本文即以韩希孟创作的《宋元名迹方册》为例,探讨在顾绣商品化生产的历史背景下,其创作的历史意义。虽然韩希孟创作《宋元名迹方册》的直接原因是顾绣仿作品的出现,但在一定程度上也将《宋元名迹方册》与商品化生产的顾绣,作为日用品、陈设品的顾绣区分开来。韩希孟采取的策略是塑造《宋元名迹方册》的“文人”传统,这跟晚明文人将绣画视为画的认知是分不开的。韩希孟的策略表面上看是为了区别于商品化生产的顾绣,但实质上仍是服务于商品化生产,为顾绣增添了一层“文人”色彩。
Han Ximeng is the most famous representative figure in the history of Gu Xiu. This essay is based on the “Song and Yuan Dynasties Pamphlet of Song and Yuan Dynasties” by Han Ximeng as an example to discuss the historical significance of his creation under the historical background of commercial production of Guoxiu. Although Han Ximeng’s creation of “Song and Yuan Dynasties” is directly due to the appearance of Gu Xiu imitation works, to a certain extent, “Guanyu of Song and Yuan Dynasties” and commercial production of embroidery, as a daily necessities, the furnishings furnishings Embroidery separate. Han Ximeng’s strategy is to shape the “literati” tradition of the “Song and Yuan Dynasties”, which is inseparable from the late Ming literati’s recognition of embroidery as painting. On the surface, Han Ximeng’s strategy is to distinguish it from the commercial production of embroidery, but in essence still serves the commercial production, adding a layer of “literati” color to the embroidery.