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历经数十载,赵红育与“双面精微绣”风雨同行,无怨无悔。当一幅幅作品被赞许包围时,她却不骄不躁,继续抚针弄线。对赵红育来说,刺绣的创新永无止境,没有彼岸。将画卷绣到极致距今已有2000多年历史的锡绣,在明清时期十分盛兴,是曾经广泛流传于民间的家庭副业。无锡刺绣从书画中不断汲取营养拓展自身表现题材和艺术内涵,俗称“无画不能绣”。绣稿虽来源于书画,却又不同于书画,多样的绣法和多变的针法让锡绣具备了独
After decades of carrying, Zhao Hongyu and “double fine embroidery ” wind and rain counterparts, no regrets. When a piece of work was praised to be surrounded, she was not arrogant, and continued to ask for help. For Zhao Hongyu, the innovation of embroidery is endless and there is no other bank. The picture embroidered to the extreme since the present has more than 2,000 years of history of tin embroidery, very Shengxing in the Ming and Qing Dynasties, was widely circulated in the folk family sideline. Wuxi embroidery draws constantly from nutrition in the painting and calligraphy to expand their own performance themes and artistic connotation, commonly known as “no painting can not embroidery ”. Embroidered script, although derived from the painting, but different from the calligraphy and painting, a variety of embroidery and changing acupuncture tin embroidery with a unique