鲁绣 第22期
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谈起刺绣,人们可以想到中国古代灵巧的女红。一只小小的绣花针在女红手中如游龙飞凤,穿针引线间,栩栩如生的牡丹、鸳鸯便跃然眼前。
中国刺绣一直是为人称道的传统技艺。江苏的苏绣,湖南的湘绣,广东的粤绣,四川的蜀绣作为中国四大名绣,无不争奇斗艳享誉中国历史。
而诞生于齐鲁大地的鲁绣,博采“苏、粤、蜀、湘”四大名绣之长,又独具一格,列数“名绣之一”,是中华民族悠久刺绣文化的重要组成部分。
早在春秋战国时期,鲁绣就登上了历史舞台,史称“齐纨”或“鲁缟”,是历史文献中记载最早的一个绣种。在秦朝达到极盛,至汉代已相当普及,《史记・货殖列传》上对此有“冠带衣履天下”之称。不仅如此,还出现了专门为绣业而设置的“服官”,据《汉书》记载,“齐三服官作工各数千人,一岁费数巨万”,而且,在汉朝鲁绣就通过丝绸之路传到西亚,转而传向欧洲的罗马帝国,当时绣业的昌盛和重要可见一斑。
不过从唐代后期,由于中国北方连年战乱,桑地及织绣生产受到严重破坏,若干织绣工人迁徙南方,北方刺绣从此长期衰落。直至明代后期,鲁绣才又闻名于世,达到高度水平。
绵远悠长的齐鲁文化赋予了鲁绣浓郁的地方特色和丰富的人文内涵。绣品不仅有服饰用品,也有观赏性的书画艺术品。从古代帝王公卿的章服到寻常百姓家,鲁绣渗透到千家万户。
当稚子蹒跚学步时,鞋子上绣的是虎头、猪脸、鲤鱼等动物图案,寓含有“健壮如虎”、“肥猪进宝”、“连年有余”等吉祥之意⋯⋯人间美景,天上彩虹,无论春花秋月,还是夏雨冬雪;无论林中自由自在的鸟,还是池中无忧无虑的鱼,只要蓬勃如朝日,只要灿烂似晚霞,都绣在布中。一幅幅精美绝伦的绣品,宛如历史的画卷,生动详实地记录了时代的变迁。
鲁绣作为刺绣的一部分,具有中国刺绣的共性特点外,还有自己独特的艺术风格。
鲁绣也称衣线绣,较其它绣种不同。鲁绣多以暗花织物作底衬,以彩色强捻双股衣线为绣线,采用齐针、缠针、打籽、滚针、擞和针、镇绣(辫子股针)、接针等针法,选取民间喜闻乐见的人物、鸳鸯、蝴蝶和芙蓉花等内容。它构图简练朴实、色彩明亮对比强烈,针法粗细相间,极富装饰性和立体感,华丽与素雅兼备。
现代临淄考古组保存的东周刺绣残片,邹县文物保管所存有的元代鲁绣珍品,以及故宫博物馆的明代鲁绣,如《百鸟朝凤图》、《罗汉图》等,都是鲁绣杰出的代表作。
“远看颜色近看花”。鲁绣粗犷豪放,色彩浓丽。大红、枣红、桃红、天蓝、深蓝、藏青、深茄紫、黑色等是“鲁绣”的常用色。鲁绣构图层次分明,色彩强烈对比,渲染出一种无拘无束、开朗奔放的民族气质。
从邹县出土的1350年李裕庵墓葬中的绣裙、袖边、鞋面上,可以看到图案苍劲粗犷、质的(地)坚实牢固的鲁绣;在故宫博物院中的明代作品《文昌出行图》、《芙蓉双鸭图》中,鲁绣用色鲜明、针法豪放、朴实健美,这些都向世人展示出鲁绣绣饰鲜明而不脱离实用的民间艺术风格。
在鲁绣工艺的发展传承过程中,一般是依靠亲邻好友、母亲姐妹、师徒相授等途径来传承。在民间,三五成群的女子们聚在一起,在一种叫做“撑子”的绣花架子上飞针走线,这种撑子是用来将衣裙、手帕、被褥、肚兜、轿衣等要绣花的具体部位均匀撑开,绣花针穿梭在这个平面区域,栩栩如生、美丽吉祥的绣品便跃然布面。精美的图形在争相传摹相互交流中得以流传,并不断推陈出新。
随着时代的变迁及地域的政治、经济、文化、审美情趣、民俗民风等的差异,鲁绣的风格也在不断变化。胶东各地及鲁中地区的梭子花边和抽纱,等都是鲁绣的衍生品,济南的发丝绣也是鲁绣发展到一定时期产生的优秀品种。在现代工业化和电脑技术的参与下,传统鲁绣这棵千年古树逐渐长出粗壮的新枝。有“中国工艺家纺名城”之称的文登市,继承传统手绣工艺全部针法的鲁绣,并形成一项支柱产业,传承创新,先后生产覆盖床上用品、抽纱、服饰三大门类产品4000多种,远销美、英、法、德等60多个国家和地区。济南、潍坊等地也传承并创新了鲁绣技术,用现代化科技使鲁绣扩大产业化,提高生产效率,精美绣品作为高档礼品是赠送友人宾朋的佳品。
美眷如花,似水流年。2000多年的过往浮尘,扫荡了各种传统艺品,或沉寂或湮灭,只有鲁绣美丽如昔,2000多年前是如此,2000多年后更是如此。鲁绣是中国绣园中是一枝艳丽的奇葩,成为传递中国刺绣文化与和平艺术的使者。
Chinese embroidery has always been acclaimed as a traditional handicraft art. The Su embroidery of Jiangsu, the Xiang embroidery of Hunan, the Yue embroidery of Guangdong, and the Shu embroidery of Sichuan are honored as China’s four famous styles of embroidery.
The Lu embroidery of Shandong, which integrates the essences of the above-mentioned four styles of embroidery, is listed as one of China’s eight famous styles of embroidery.
Shandong’s time-honored history endows Lu embroidery with its rich local characteristics and culture. Lu embroidery can be appreciated not only as costume products, but also as calligraphy and painting. From the imperial clothing in the ancient time to the ordinary families, Lu embroidery has spread to numerous households.
The style of Lu embroidery is bold and unconstrained with strong colors, such as scarlet, purplish red, pink, azure, dark blue, and black. Lu embroidery has distinct layers and strong color contrast, displaying a kind of unconstrained and open national temperament.
With the vicissitudes of time and affected by the political, economic, cultural, aesthetic, and folk customs of different regions, the styles of Lu embroidery have also been constantly changing. The shuttle lace and drawnwork of Jiaodong and Central Shandong are products derived from Lu embroidery. The hair embroidery of Jinan is also a kind of excellent part of Lu embroidery developed at a certain period. Thanks to modern industrialization and computer technology, new elements have been added to Lu embroidery. In Wendeng City, Shandong Province, which is honored as a Famous City of Domestic Handicraft Textiles, Lu embroidery has become a pillar industry, which products three categories of products of more than 4,000 types exported to more than 60 countries and regions like the USA, UK, France, and Germany. Jinan and Weifang have also inherited and innovated Lu embroidery technology and have expanded the scale of Lu embroidery with modern technologies.