Shen embroidery works
Jiang Yi, a descendant of Shen embroidery who represents the highest level of traditional Su embroidery, will demonstrate the silk splitting technique of dividing silk into sixteen at the exhibition site. Wang Jinxiang, a representative inheritor of intangible cultural heritage, moved the mahogany furniture from the Nantong Tongzuo Furniture Museum collection and the classic Tongzuo furniture he designed and produced. Representing the highest level of blue printing and dyeing technology in blue printing and dyeing, the dark blue light blue white "three-color double-sided printing and dyeing method" will also meet with the audience.
With the theme of "Jianghai Ya Ware", the exhibition closely follows the word "Ya", integrates the feelings of traditional Chinese literati "Shangya Chongya" into Nantong's arts and crafts works and Nantong intangible cultural heritage skills display, combines the display of works with space experience, selects the literati ya objects in Nantong arts and crafts works, and naturally implants them into the theme literati study, tea room, Zen house and living room created, restores the scenes of literati life, study, thinking and self-cultivation, and contains the spiritual connotation and cultural conception of traditional Chinese literati. The literati elegant objects embellished in it have also become the carriers that carry the feelings of these literati, or exquisite, or freehand, or simple, or exquisite, a cup and a lamp, a piano and a furnace, and the halls and halls are intertwined, showing the flavor and wind bones of traditional Chinese literati.
Shen embroidery on-site display
Nantong Taobao Culture and Art City has a lot of non-hereditary heirs' studios, among which the Shen embroidery inheritors' xiufang can watch the live embroidery performances of the embroidery girls up close. Shen embroidery, also known as imitation embroidery, is an embroidery art developed on the basis of Su embroidery, in the embroidery art Shen Shou created a simulation embroidery, the first use of rotary needles to express the texture of the character, the use of colorful silk threads to harmonize tones, show the natural luster of embroidery threads, so that the color of Shen embroidery works is soft and natural, breathable, lifelike. Shen Xiu was listed in the first batch of Jiangsu Province's intangible cultural heritage list in March 2007, and was selected into the second batch of national intangible cultural heritage list in 2008.
Shen embroidery is the best at character embroidery, and the performance of character portraits is vivid, evocative and realistic, and the stitching method is changeable, with a distinct artistic style. Compared with traditional Chinese embroidery, Shen embroidery has a unique artistic effect and characteristics, and the works often use Western oil painting portraits, landscapes, etc. as embroidery drafts, absorbing their lighting and color techniques in the embroidery techniques, making the works have a strong sense of three-dimensionality and vivid and vivid objects. The "Clam Map" treasured in the Nantong Museum Is a delicate work by Shen Shou. The work adopts a variety of stitching methods such as winding needles, applying needles, and roller needles, with black, gray and white threads matching, which vividly expresses the texture of clams through chiaroscuro contrasts, and fully shows the vivid expression of "simulated embroidery". Shen Xiu's "Statue of the Italian Queen" and "Statue of Jesus" have won the "Supreme Honor Excellence Award" of the World Exposition and the "First Prize" of the Panama World Exposition, and have been presented as national gifts to foreign heads of state, including Russian President Pugin and U.S. President Barack Obama.
The fifth generation of Cao Yuxing Blue Dyeing Workshop is Jiang Rong
"Nantong blue printing cloth printing and dyeing technology" has been included in the first batch of national intangible cultural heritage list, Nantong has also been named - the hometown of blue printing cloth. Blue printed cloth has a 2,000-year history of production, using indigo extracted from natural plants and then using a skeletonized flower plate, all hand-printed and dyed. The simple, original blue and white colors create a simple and natural, ever-changing, colorful blue and white art world. The pattern of the blue printed cloth comes from the folk, reflecting the people's joy and happiness, pinning their yearning for a happy life and simple aesthetic taste, in terms of theme and content, the healthy and simple soul of the people, in the folk blue printed cloth has been the perfect unity of form and content, so the blue printed cloth does truly reflect a deep cultural and artistic accumulation. Jiang Rong is the fifth generation of Tongzhou Cao Yuxing Blue Dyeing Workshop, for the future how to inherit, he said: "Our dyeing workshop has a history of more than 160 years, adhere to the ancient printing and dyeing process, with bluegrass dyeing, each piece of cloth needs to go through multiple processes. The current inheritance may not be limited to the family as in the past, and the key is to support the interest and employment cultivation of today's young people. ”
Blue printed cloth works
Nantong's traditional furniture has a distinct "crutche pattern", "abduction pattern" is a highly simplified form and abstract dragon pattern decoration, in addition to the decorative role, but also plays a role in support and stability. In other places of origin, especially in the northern region, furniture is almost rare to see, so "crutche pattern" has become the most intuitive and strong feature that distinguishes it from Su Zuo or other real estate furniture. As long as it is furniture with a crutche pattern, you don't need to ask the place of origin, you know that it is MADE IN NANTONG, which is the standard "common work". Tongzuo furniture is also listed as the intangible cultural heritage of Jiangsu Province. At the Tongzuo Furniture Museum, accompanied by Wang Jinxiang, a representative inheritor of intangible cultural heritage and senior craftsman, he visited the Nantong Tongzuo Furniture Museum. The museum collects all kinds of mahogany furniture that Mr. Wang has collected in the folk since the Ming and Qing dynasties over the years, as well as classic general furniture designed and produced by him.
"Tongzuo" furniture display
The works of the Turning Heart series, whose body is divided into two layers, inside and outside, can be rotated freely.
After thousands of years of development, silk is mainly divided into two schools: this silk and ming silk. Ming silk, as the name suggests, is the development of silk technology after the Ming Dynasty, because the Ming Taizu Zhu Yuanzhang advocated frugality, silk production time-consuming and labor-intensive, expensive cost, so the use of silk products is explicitly prohibited. Forced to make a living, the silk craftsmen reduced the production cost of the yarn through the improvement of skills and materials, thus gradually forming the silk. The opposite of Ming Silk is the original silk, that is, the original silk technique that has not been changed since the Tang and Song dynasties.
Nantong silk inheritors are teaching technology
This silk is the oldest variety of silk in China, representing the main characteristics of silk in the early Western Regions and the Tang and Song Dynasties. Its silk is coarse, the twist is strong, the weaving surface is flat and structured and solid, the color is elegant and simple and thick, the realism and pictoriality are equally important, and the fabric reveals a simple "corrugated floor" (plain fabric thread phenomenon). The works are elegant and noble, suitable for decorative embellishments, calligraphy and painting imitations, thangkas and other appreciative works of art. In the Jiangsu Intangible Cultural Heritage Protection Unit and the Nantong Non-Genetic Inheritance Base Nantong Xuanhe Silk Research and Development Institute, The Elderly Wang Yuxiang, a representative inheritor of Nantong's silk manufacturing skills, said that the silk technique was once lost in China, and in the 1970s and 1980s, he went to Japan to study in order to restore the silk technique, and Japan on that day still retained the silk technique that had spread from the Tang Dynasty to the east. Through learning the Japanese silk reeling technique and learning the ancient silk reeling texts, Wang Lao continued to try, and finally restored the original original silk reeling technique since the Tang and Song dynasties. In 2009, "Nantong Silk Weaving Technique" was included in the List of World Intangible Cultural Heritage as part of the "Chinese Silkworm Silk Weaving Technique". In 2015, Nantong silk reeling technology was selected into the list of intangible cultural heritage in Jiangsu Province.