清末民初江南绣画之嬗变——以沈绣为例

The Evolution of Jiangnan Embroidery in the Late Qing and the Early Republic of China——A Case Study of SHEN Embroidery

晚清以降,西学东渐,深刻影响中国艺术领域的价值判断、形式表达与概念生成,呈现出纷繁复杂的艺术世相。在东西方艺术的碰撞与交流中,通过对西方艺术特质的摄取、移借,来诠释东方传统技艺,沈寿的刺绣实践即是其一。本文意欲通过钩沉沈寿绣画技艺的嬗变与时代境遇的张力,探索时代变局背后的传统手工艺人的身份转变,挖掘中国传统技艺对西方艺术的摄取,亦可探见东方传统技艺的坚守与更新,展现绣画背后的文化书写与理念生成,更是期冀能从多角度呈现清末民初江南绣画的嬗变。

Since the late Qing Dynasty,the west culture arriving the east,which has profoundly influenced the value judgment,formal expression and concept generation in the field of Chinese art,presenting a complex art world.In the collision and exchange of Eastern and Western art,through the absorption and borrowing of Western art characteristics,to interpret Eastern traditional skills,SHEN Shou's embroidery practice is one of them.This article intends to explore the identity change of traditional craftsmen behind the changes of the times through the transmutation of SHEN Shou's embroidery skills and the tension of the circumstances of the times,explore the absorption of traditional Chinese skills into Western art,and also explore the persistence and renewal of Eastern traditional skills,show the cultural writing and concept generation behind embroidery painting,and hope that it can present the transmutation of Jiangnan embroidery painting in the late Qing Dynasty and early Min Dynasty from multiple angles.