摘要
以传世所见的数本顾绣《罗汉图册》为中心,尝试归纳顾家顾绣和仿制顾绣的风格特色及其区别,并以崭新角度看待仿制顾绣,希冀彰显这批倍受忽视的作品的意义。而顾绣的观众也可概分为两类,一类为真文人,一类为“类文人”。为顺应当时社会对于模拟文人品位的风气趋向,许多仿制或后期顾绣既得益于顾家,又采取了更为适应商品化市场的策略。若将仿制顾绣放回明清古物、古画生产情境里来考虑,则不但对顾绣整体生产有更贴近真实的认识,也可知绣画制作在当时实与仿古画作、伪画生产手法上有着种种相近之处。
This paper tries to summarize the style characteristics and differences between Gujia Gu embroidery and imitation Gu embroidery based on several copies of Gu embroidery"the Album of Arhat Paintings"that have been passed down through the ages,and tries to treat imitation Gu embroidery from a new perspective,hoping to highlight the significance of these neglected works.The audience of Gu embroidery can also be divided into two categories:real literati and“aspire-literati”.In order to cope with the social trend of imitating literati's taste,many imitation or later Gu embroidery not only benefited from caring for the family,but also adopted strategies more suitable for the commercial market.If imitation Gu embroidery is considered in the context of the production of antiques and paintings in Ming and Qing Dynasties,it will not only have a closer understanding of the overall production of Gu embroidery,but also know that the production of embroidery paintings has various similarities with the production techniques of antique paintings and fake paintings at that time.
出处
《东方博物》
2022年第2期50-59,6,共11页
Cultural Relics of the East
关键词
顾绣
仿制
商品化
“类文人”
Gu embroidery
imitation commercialization
“aspire-literati”
