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圓喜藝術中心-電子報

刺繡的線條語言

• 發表於 2011年11月號

刺繡的線條語言

“線條”是中國藝術的性格,表現於繪畫的白描、鐵線描及高古遊絲描;書法中的漢隸、行書、草書;佛像雕塑的“曹衣出水、吳帶當風”;更表現在卷軸形式概念上的運用。而作為“以針為筆,以線為墨”的刺繡,可謂是線條性格裡精工巧藝的極至表現。 運用不同特質、色彩漸層的絲線穿引,以線的粗細、長短、疏密、濃淡,佐以排比、層疊、交錯、繚繞的線條語言, 當繡師以縝密的巧思及純熟的技藝,在針尖處排列組合時,線條便有了豐富的對話與表情。 尤其繡線本身的光澤度,二維空間裡的刺繡作品,具多彩的光燦效果及微妙的肌理變化。

 

繡與畫

刺繡的藝術性,在於線條、色彩及光影的表現,端賴以一針一線積絲而成,有別於乘興揮灑的繪畫。由於刺繡依存於繪畫的形式下,必須先有畫稿,再經過以針線分析畫稿內容的過程,刺綴於織品上,其藝術表現以複製為基礎,也就是運用線條的語言進行一次美感的創造。

這“形似”背後的意義,其中包含了繡師對針法線徑的走勢安排、色彩的暈染效果與豐富的肌理光影表現等學問,不單只是形似的問題。

若以曲目與音樂演奏來比喻繪畫與刺繡的關係,畫稿猶如作曲家創作的音樂曲式,而繡師就是演奏曲目的音樂家;傑出的音樂家必須對樂器音質、音色與樂理有深厚的認識,才能在音樂的曲調、和聲、節奏中,完美呈現;猶如繡師必須對針線材料的物性及畫稿對象的媒材特質、造型、色彩、線條有十足的訓練、觀察與掌握後,才能透過針法的安排、分色及刺繡技術,以針線演練對畫稿的重新創造,可以說每一幅繡畫作品都是繡師學養功力的精彩演出。

(以上資料來源:NCTU交大璞玉計畫月刊 52)

 

 

名稱:薩克斯風

刺繡針法:亂針、平針

可以高歌,可以盡歡;也可以安靜,可以沉澱,在動靜之間,譜出生命音符!

(圓喜藝術中心收藏)

 

 

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