民国刺绣的“尚实”美学——以金银绣设色嬗变为例

The aesthetics of"respecting for practical learning"of embroidery in the Republic of China:Taking the color changing of gold and silver embroidery as an example

民国时期传统美学向现代美学过渡转型,实学美学作为其中典型的代表,深刻影响了传统刺绣设计范式、设计思想的嬗变。为厘清民国刺绣的色彩设计嬗变特征及其设计原理,文章以源于宫廷绣的金银绣为例,通过CAPSURE色彩检测仪对30件藏品进行了色彩量化识别,提炼出民国时期金银绣绣品色谱。研究明晰了“尚实”美学作用下民国刺绣高明度灰彩色混合搭配的设色范式,以及从奢华浓艳到清新雅致、从金银单色到多彩融合的嬗变特征,设色思想由民国初年的情景交融到中后期追求功利实用的转变;在此基础上分析了近现代唯物主义价值观、染色物质条件、西方现代设计理念对民国刺绣“尚实”美学的影响。

The aesthetic of practical learning,as a typical representative,has a great influence on the evolution of traditional embroidery design paradigm and design thought during the process of transition from traditional aesthetics to modern aesthetics in the period of the Republic of China.However,as a result of destruction by continuous wars and a lack of historical materials,studies on modern embroidery are seriously insufficient.Moreover,most of the existing studies are about embroidery design characterization refinement and process records,and there are few systematic studies on the aesthetic evolution mechanism of modern embroidery design.To clarify the color design evolution characteristics and design principles of embroidery in the Republic of China,and the influences of both internal and external factors on embroidery design in the Republic of China,this paper takes the gold and silver embroidery originated from court embroidery as an entry point,studying its color design paradigm and aesthetic mechanism in the historical turning point.The research method used in this study is a combination of qualitative and quantitative methods.First of all,the specific analysis process is as follows:CAPSURE color detector is used to analyze the information of 30 pieces of tinsel embroidery collections in the Republic of China,and then related information of these tinsel embroidery collections is converted into the color number in PCCS color system for analysis.According to the research,most of the tinsel embroidery works in the Republic of China feature light,weak,bright,astringent or dull tone,while its commonly used color design paradigm is a mixture of low purity,high brightness and light tone.Secondly,the color aesthetics of the gold and silver embroidery in the Republic of China is explored.After comparing and analyzing the color design in the Republic of China with that in the Tang,Song,Ming and Qing Dynasties,the authors expound the primary color beauty,level beauty and space beauty of the tinsel embroidery in the Republic of China from the two dimensions,namely,respecting the reality of natural appearance and the reality of expressing meaning from life aesthetics,and further analyze the influencing factors of combining emotion with scenery and regional aesthetics.Thirdly,the color evolution of the tinsel embroidery in different periods of the Republic of China is analyzed on the basis of combing the historical development of"aesthetics of respecting for practical learning".In the early period of the Republic of China,Chinese traditional aesthetics was transformed into modern aesthetics,and embroidery had natural"practicability",but the expression of individual emotion was relatively lagging behind and conservative;the utilitarian beauty of art was widely publicized in the middle and late period of the Republic of China when embroidery had close relationship with"civilian use"and was changed to function as daily necessities,with the embroidery color having personality spirit.Finally,the driving factors of the color evolution of the gold and silver embroidery in the Republic of China are analyzed.On the one hand,it benefits from the simultaneous use of ancient dyeing and chemical dyes.On the other hand,it is influenced by the sinicization of modern design concepts,including the parallel dissemination of Art Nouveau Movement and the formation of modern fashion system.After clarifying the evolution mechanism of the aesthetics of respecting for practical learning in the late Qing Dynasty and the Republic of China,this paper analyzes the aesthetic principle of color evolution of tinsel embroidery by means of parallel comparison.In terms of the content,it makes up for the limitation of the existing research focusing on the cultural characteristics of western"take-in doctrine"and emphasizes the positive role of national internal factors in the modernization of traditional embroidery,with the aim of promothing the excavation and research of endogenous genes in the process of innovation and development of traditional embroidery.