花瑶挑花服饰结构及其技艺变迁和传承

Clothing Structure of Cross-Stitch Dress of Hua Yao and Transition and Inheritance of Its Skill

作为身体装饰系统,花瑶挑花服饰通过头饰、上衣、腰带、挑花裙、绑腿等服饰结构的制式、颜色及穿着方式,阐发与服饰穿着主体生产、生活的关联性,表达群体审美感性及其生活理性,从而形成了一套自我生产的话语知识体系。随着时间流逝,作为族群表征之物,花瑶挑花服饰在穿着制式、挑花裙材质及图案布局等技艺构成上发生了一定变化与调试。进入国家级非物质文化遗产名录以来,花瑶挑花技艺逐渐从原有的亲缘、地缘传承向中小学素质课程、民族节日的旅游空间拓展,途径更趋多元、范围更为广阔,为当下民间手工艺类非物质文化遗产项目的保护与传承提供了借鉴。

As a body decoration system, cross-stitch dress of Hua Yao interprets the correlation with the production and life of the subject wearing the dress and expresses the aesthetic mind and rational life of the group through the pattern, color and wearing way of clothing structures such as headwear, jacket, belt, cross-stitch skirt and leggings, thus forming a set of discourse knowledge system of self-production. As time passes by, as the symbolic object of the ethnic group, cross-stitch dress of Hua ~ao has changed in wearing pattern, material of cross-stitch skirt and pattern layout. Since the entry into national intangible cultural heritage list, cross-stitch skill of Hua Yao has gradually expanded towards primary and secondary school quality course and tourism space of national holiday from the original relative and geographical inheritance with more diversified approaches and wider scope and provides reference for the protection and inheritance of folk handicraft intangible projects.