薛勋郎的夹缬传奇

在这个丝、麻争宠的时代．谁还会惦记一块蓝白花的土布是如何染成的?又有谁记得敦煌莫高窟彩塑菩萨身上穿的“彩衣”究竟源自哪里?事实上,这一切是一种可追溯到千年的传统技艺——夹缬(音xi(?))。在唐代,只有宫廷王侯才能穿着用夹缬印染出的丝绸;而今,身为苍南夹缬最后的传人,薛勋郎却已经想要放手——“舍不得是肯定的。但每个人都要吃饭,不赚钱还要倒贴,谁能坚持得下去呢?”     

“蜡缬”名词小考

［编者按］：此文系’97中国贵州国际蜡染联展既学术研讨会交流论文1960年作家出版社出版了沈从文先生的专著《龙凤艺术》。书中“谈染缬”一文说：“唐代至少已有三种染缬技术普遍流行：即蜡缬、夹缬和绞缬。”得到了学者们的广泛认同,并被广泛引用。又说：“蜡缬”,就是我们常说的蜡染。查《辞海》1979年版,有“蜡染”古称“蜡缬”的条目。查《辞源》1983年版,既没有“蜡染”一词,也没有“蜡缬”一词。从很多有关历史文献中或文学作品中,可以看到缬、染缬、绞缬、夹缬以及为各种花纹命名的鱼子缬、撮晕缬、玛脑缬、鹿胎缬、醉眼缬等…     

寻找夹缬的最后踪迹

在古代汉语里,“缬”字是指在丝织品物上印染图案花样。绞缬指扎染,蜡缬指蜡染,在今天的西南民间,扎染和蜡染仍在流传。夹缬在唐代极为盛行,敦煌莫高窟唐彩塑菩萨身上穿的多是夹缬织物,但宋代以后逐渐从复色趋向于单色,然后便湮没了。     

寻找夹缬的最后踪迹

在古代汉语里,"缬"字是指在丝织品物上印染图案花样.绞缬指扎染,蜡缬指蜡染,在今天的西南民间,扎染和蜡染仍在流传.夹缬在唐代极为盛行,敦煌莫高窟唐彩塑菩萨身上穿的多是夹缬织物,但宋代以后逐新从复色趋向于单色,然后便湮没了.     

深山有蓝 夹缬在中国的最后遗留

2007年10月30日,浙江省乐清市白石镇中雁村的陈松尧喜滋滋地打开了花板,一股草本清香直沁肺肠,搁置了十几年,又见蓝夹缬(xie)!1997年10月,台湾的"汉声"杂志采编一行寻遍了中国,只在苍南宜山镇八岱村找到了家仍在生产的小作坊,业主是薛功廊,75岁的许康算师傅在断断续续地生产着,会操作的也只有他一个人。     

唐代的夹版印花——夹缬——吐鲁番出土印花丝织物的再研究

"夹缬"一词屡见于唐代文献,如《唐语林》卷四有"因使工镂板为杂花,象之而为夹结";白居易诗有"成都新夹缬"。吐鲁番出土唐代文书中亦记有夹缬被子。然而"夹缬"到底是怎么一回事,使用什么样的花版,怎样进行操作,却没有记述。近人偶有论及,或语焉不详,或将印花工艺与印花设备及操作方法混为一谈,依然莫明其究竟。印花工艺与印花工具设备及操作法虽有一定关系,但不是同一概念。按印花工艺分,有直接印花、拔染印花、防染(防印)     

扎染是最传统的印花,更是青瓷般的艺术

密密的点,静静地扎,当一个简单动作重复无数次,双手甚至有了运势有了节奏的时候,你会觉得这是一场极为精彩的表演,这些手以集体的形式出现时,那便是粉墨登场的一台好戏,. 扎染,古称“绞缬(xié)”,跟蜡缬、夹缬、灰缬一样,都是用“防染”的方式呈现花纹.最初是在丝绸上,后来多以棉布为主.唐代僧人慧琳在《一切经音义》中解释“以丝缚缯染之,解丝成文曰缬”,此处的缬指的就是绞缬.大概古今皆如此,比起其他三缬,绞缬更易上手:用线将织物扎结后入染,解结成纹.因此,扎染成为时下最盛行的“蓝染体验”方式,比蜡染、蓝印花布、夹缬都要省时省工,也容易出现意想不到的艺术效果.     

中国古代蜡染文化之研究

中国古代蜡染,见于史载称之为“蜡缬”,是中国古代著名三大印染（蜡缬、绞缬、夹缬）工艺之一。它具有悠久的历史传统,从古至今,在世界上都享有盛名。这一历史传统工艺,究竟起源于何时？尚无定论。但从战国秦汉时期始至今日,其传统工艺及图案纹样,始终处在不断的更...     

河南淮阳太昊陵申报世界文化遗产启动

当学者们惊呼发现了消失数百年的古老染布绝技——夹缬的时候,最后的夹缬艺人却成了卖馒头的个体户;虽然老纤夫们组成了川江号子研究会,但是川江上最后一片已经在水利工程中被淹没,千年的舟楫文化留下的最后呼喊即将销声匿迹……这就是中国非物质文化遗产所面对的现实。     

动态

寻找“中国记忆”当学者们惊呼发现了消失数百年的古老染布绝技——夹缬的时候,最后的夹缬艺人却成了卖馒头的个体户;虽然老纤夫们组成了川江号子研究会,但是川江上最后一片已经在水利工程中被淹没,千年的舟楫文化留下的最后呼喊即将销声匿迹……这就是中国非物质文化遗产所面对的现实。     

Painted Textiles in a Buddhist Temple

Abstract

This article investigates women's dye practice at a time when natural dyes were deemed obsolete, or when created by men working from an artisanal studio, transformed into idealized labour more consistent with the ideals of the Arts and Crafts Movement. The objective of this article is to assess the extent to which gender plays a role in the historical and contemporary determination of the aesthetic, cultural, and social value of natural dyeing. Another goal is to move away from the term 'craft work' with its acquired pejorative context and locate dyeing within 'artisanal practice' as an occupational choice. Current studies on women's participation in the Arts and Crafts Movement raise questions as to the distinction between amateur and professional status among practitioners in many media. The only dyer deemed to be 'professional' was William Morris; yet in north-west Ireland, the Scottish Highlands, and England's Lake District, female dyers contemporary with Morris also made important contributions. That their production of colour originated from the separate sphere of home need not mitigate against professional status nor historical value, but there is a lingering perception that men such as Morris possessed inherently superior abilities. The focus of this article is also to analyze the mythology of natural dyeing which has limited the opportunity to recognize female dyers whose practice aligned with the utopian ideals of the Arts and Crafts Movement. Three examples are discussed here against a brief summary of centuries of women's involvement in the business and trade of dyeing. The Arts and Crafts dyers discussed in this paper are also compared to Morris. Women's abilities as colourists were as worthy of professional designation as were those same skills when they emanated from men who comprised the Movement's elite.     

浅析贵州民间砂器工艺特点与重要历史价值

贵州砂器工艺是一项非常有特色的民间传统工艺,它所蕴含的古代文化信息十分丰富。通过对贵州民间砂器制作工艺中成型技术、烧制与鼓风方式等与新石器时代制陶工艺的比较,可看出其基本原理及一些重要工序或器械都直接继承了新石器时代的制陶工艺,或者在原始工艺基础上进行了改进。其中包括一些发明创造体现了山区劳动人民的聪明智慧,反映了人类在生存斗争中的创造能力。贵州砂器工艺的历史价值不可低估,值得保护和研究。     

从建国后苏绣业的发展看手工业的政策和管理

建国后苏州刺绣业经历了从手工业到现代大工业的发展过程。 1 95 2年 ,我国提出了社会主义过渡时期的总路线 ,苏绣业开始由加工订货的方式走上了合作化道路 ,此后又经历了从刺绣生产合作社到转厂过渡以及刺绣加工机械化、自动化。事实证明 ,我国社会主义制度建立以后进行的生产合作化 ,是引导小生产者走上联合劳动道路的最好方式之一。但苏绣是一种特殊的手工业 ,是工艺美术手工业 ,在审美和情趣方面具有不同于一般手工业的独特表现。因此 ,在政策和管理上就需要区别对待 ,合作化以来屡屡出现的那种混淆差别、笼统管理的做法是欠妥的 ,也容易导致一些传统工艺走向衰落     

Firing up craft capital: the renaissance of craft and craft policy in the United Kingdom

Crafts have recently been experiencing a renaissance. This revitalization sees craft increasingly recognised as a growing industrial sector with benefits linked to educational, cultural and economic development policy agendas. This paper engages with policy debates around the place of craft in the United Kingdom from 2010. Drawing on craft sector perspectives and UK government policy initiatives it situates the disciplines and practices of craft within their institutional support networks, organizational contexts and draws attention to the role of individuals in driving agendas. The paper focuses on the national facing crafts development organizations, the UK Crafts Council and the UK Heritage Crafts Association, alongside recent policy discussion emerging from the UK Department for Business, Innovation and Skills. Recognizing that the legacies of past practice often inform contemporary agendas, the paper explores how the advocacy of craft in the recent past has shaped the place and positioning of craft in contemporary UK politics.     

Stone Tool Production of the Longshan Culture at the Liangchengzhen Site in Rizhao of Shandong

The manufacture of stone tools was one of the most important craft production activities in prehistoric human society. Previously, lack of sound evidence had made it too early to confirm whether or not stone tool production during the Longshan cultural period had already transformed from a primitive self-sufficient household mode of production to a specialized mode of production. Excavation of the site of the Longshan cultural site at Liangchengzhen in Rizhao, Shandong from 1998–2001 through meticulous field methods such as sieving and floatation yielded a large number of lithic reduction tools, ranging from grinding stones, stone hammers, and polishing stones to raw materials, semi-finished products, and lithic debitage of various sizes, resulting from the lithic reduction process. This excavation suggests that the Liangchenzhen site was a settlement site where the complete process of lithic reduction was practiced. Through comparison with contemporary large-scale excavated sites of the Longshan culture, it is suggested that the Area 1 at the Liangchengzhen site was a lithic reduction locality with a relatively high degree of specialization which was used for hundreds of years. It is possible that stone tool production had already advanced to a stage of relatively high specialization during the Longshan cultural period in the Haidai region.     

Centripetal settlement and segmentary social formation of the Banpo tradition

Creating a spatial environment to facilitate social operation is a common practice among human groups. Segmentary social formations have limited regulatory capacity due to the lack of formally sanctified authorities. The pressure is on the emergency of atternative mechanisms that regulate the practice of segmentary principles. The Neolithic site at Jiangzhai in North China is a classic archaeological example of using the centripetal plan and demarcated space to support the working of segmentary organization. The occupation was partitioned into three concentric divisions of the central plaza, residential and burial zones. The later two zones were further demarcated into spatially discrete areas for allocating the social segments comprising the community. The arrangement translated the abstract segmentary principles into tangible space where everyday practices played out. It created a spatiality that placed individual acts under the watch of the entire community, thus enabling the effective policing against deviated practices by public opinions. Analyses of the material remains distributed in the highly ordered built environment indicate that food sharing was practiced in the communal level, and craft production of the ceramics was likely organized in the household level. Patterns of monochrome paintings and etched signs on the ceramics suggest the sharing of symbolism in a pan-community network. The study also isolates the budding of non-conforming acts that would one day fracture the segmentary community.     

Craft Production, Exchange, and Political Power in the Pre-Incaic Andes

This article explores the relationship between craft production, exchange, and power in the pre-Incaic Andes, with a focus on recent archaeological evidence from Chavín, Nasca, Tiwanaku, Wari, and Moche. I argue that craft production and exchange in concert with materialized ideologies played vital roles in the development of political power in the Andes. In later state societies, craft production, exchange, and materialization were critical in maintaining and legitimizing established political power.     

Gender,precarity and hybrid forms of work identity in the virtual domestic arts and crafts industry in Canada and the US

Over the last several decades, there has been a growing recognition of the precarious nature of employment in creative economies, including craft industries. Despite this work, little research has explored how the rise of the platform economy is affecting labour market precarity. Our article explores the nature of precarity in craft blogging, looking in particular at the domestic arts and crafts. We examine how a growing number of women have left other forms of employment to engage in sewing, knitting, quilting, cooking and baking. Many women have also taken to blogging about their endeavors. However, there is a paucity of research on the variety of types of work that craft bloggers engage in and the challenges they face. Drawing upon interviews with female domestic arts bloggers in Canada and the United States, the article explores the work that craft bloggers engage in, the space and time of labour, and the variable sources of income that they access through their work. The article analyzes the experiences of precarious labour that arise at the interface of craft and the internet, and the multiple identities that stem from hybrid forms of creative work.     

辅料染色技术在古代纺织品保护修复中的应用

在国外,染色技术是纺织品保护修复人员必须掌握的一门专项技术,但目前于国内却很少得到应用。本文主要介绍染色技术在纺织品保护修复中的适用范围,如用于背衬或覆护辅料的染色、缝线染色等和实验室常用的染色方法,这将有助于引起国内纺织品保护修复领域对此项实用技术的关注和推广。