The Beauty Of Qiang Embroidery In The Qiang Culture

The modeling features of Qiang embroidery

The themes, compositions, lines, colors and needles of Chinese and Qiang embroidery vary greatly. The commonly used embroidery methods are cross stitch, nano flower, chain buckle, flower binding, jacquard and flower binding, among which the most distinctive feature is embroidery.

The points, lines and surfaces in Qiang embroidery patterns are extracted, summarized and abstracted from life and natural environment and become a form of beauty. This form of abstraction based on life content fully represents the aesthetic orientation of the Qiang nationality and has been fully utilized in clothing.

Wide range of subjects and rich modeling.

The Qiang embroidery pattern is based on the rich experience of life of the Qiang women, and boldly innovates on the basis of careful observation of objects. They do not play the bottom draft, feel free and play freely, and create a wonderful work full of breath of life, integrated into the aesthetic spirit and personal interest of the ethnic group.

It is a lively mind perception of Qiang women.

The Qiang nationality has a colorful pattern of multicolored embroidery as the central design. The four sides are accompanied by abstract geometric patterns, which appear to be rich and full, with distinct distinctly primary and secondary points, such as "chrysanthemum and ten thousand characters" and "pattern of Rhododendron" patterns.

The pattern of Qiang embroidery pattern has the characteristics of order combination, which reflects a strong form of aesthetic feeling.

In particular, the soft and soft reputation of Qiang embroidery flowers is strongly contrasted with the geometric patterns presented on the side of the garment. The circle of the flower and the square of the head are also contrasted with the square of the form, and coincide with the yin yang philosophy of Chinese traditional folk art.

Color characteristics of Qiang Nationality

Four sheep chrysanthemum pictures

The Qiang women's gowns are mainly red, blue and black. They are decorated with Qiang embroidery, with all kinds of waist and colorful Qiang embroidered headgear, bright and bright.

Qiang women in the creation of Qiang embroidery, both traditional techniques and ingenuity.

The main colors used in color are pink, yellow, green, lake blue, white, black and so on. They are embellished with other colors to form patterns. By contrasting colors, complementary relations, brightness differences and gradation changes, the colorful relationship between Qiang and embroidery is created.

The aesthetic feeling is more general and concentrated, such as the vine on the ribbon, and the peony pattern. The peony flower with gradual change of lightness is interweaved under the leaves of the blue grass and the grass green, and interspersed with the S shaped vines. Under the yellow background cloth, the color appears particularly Fuki Akiro. The dance of the vines is more dynamic and full of tension of life. On the waist of the half waist, the white cotton velvet shows a picture or abstract generalization on the black underside with white cotton velvet, or is simple and simple, with pure and pure color patterns, such as the patterns of "Jian Chrysanthemum flower picture" and "four butterfly chrysanthemum". People often say that they appreciate the clothes of a group of Qiang girls, such as the colorful flowers in the March, the colors of Qiang embroidery.

Qiang embroidery is the full expression of Qiang women's red culture. It is the fruit of the beautiful and beautiful natural environment of Qiang women. It is the most artistically and artistically handcraft with strong folk customs.

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The Qiang embroidery patterns contain primitive worship and religious belief.

Totem is a mythical ancestor, protected by the clan.

Totem worship is a common phenomenon in all ethnic groups. Even today, there are many ancient totem ruins in many ethnic costumes. In some traditional costumes, we can see patterns such as sun, moon, stars, dragons, Phoenix, birds, snakes, frogs, fish and so on. These are obviously totems.

There are no exception in Qiang costumes, such as the sun pattern, Qiang Yun pattern, azalea pattern and sheep's head pattern, which are represented by Qiang embroidery.

The Qiang people embroidered these auspicious patterns on clothing, hoping to get the blessing of totem gods and enjoy a happy life. This belief can be traced back to the ancient Chinese Qiang's witchcraft beliefs.

At the same time, the Qiang nationality also exists in the cultural blending development of the surrounding ethnic groups, which is also reflected in the pattern of Qiang embroidery.

The Qiang people worship the sheep because they play an important role in the sacrificial activities of the Qiang people. It is said that sheep eat the sacred books of the Qiang people carelessly, so that the Qiang people use sheep skin to drum up, and they say that they will spit out a Scripture without knocking.

In addition, the life of the sheep and Qiang people is also closely related. Eating mutton, drinking goat milk and sheepskin, sheep become an important living material for the Qiang people, and Qiang people's feelings for sheep are similar to those of Tibetans on yaks.

With its natural and cordial image, warm and soft character, and the important source of living materials, the sheep have been pformed into the auspicious symbols of the Qiang people. For example, in the Qiang embroidery, there are four patterns of "chrysanthemum with chrysanthemum" and "four sheep protecting the treasure map".

Therefore, the Qiang people's feelings for the sheep are diverse and rich.

In the qiangxiu embroidery, the flower and flower of the flower flower, flower and flower, and flowers are continuous and continuous. They often appear in the form of lump and full width. They not only generalize and extract the rhododendrons in nature, but also imply the meaning of their offspring. They often appear in the head, waist, chest and clothing.

Butterfly pattern is also the theme of Qiang's long love performance.

Butterfly, as a symbol of reproduction and reproduction, is used by many nations as totem worship and widely used in embroidery patterns.

There are also many variations in the butterfly pattern of the Qiang nationality, especially when the butterflies and peony patterns appear on the cuff. The two birds are combined with the body of the butterfly, which is unique and novel. This symbolizes that the couple are flying with each other, love is happy and their children are endless.

These symbols of qiangxiu costumes, from the object of initial worship to the content of blessing and blessing, eventually merge into the real life of Qiang ethnic groups and become an important part of their life world.

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The Qiang Nationality's pattern condenses the result of national cultural blending.

The influence and communication between different nationalities on clothing culture is the inevitable phenomenon of cultural infiltration in the process of national culture.

Qiang nationality is a nation living between Han and Tibetan. Therefore, its religious beliefs, customs and dress buildings will inevitably be influenced by the Sino Tibetan culture. Thus, the cultural implication of rush repair is not a single aspect, but a blend and rich variety.

Diligence and wisdom is the Qiang people's recognition of the continuous absorption of the surrounding ethnic culture in the long course of the years, or the direct absorption and utilization, or the development and development of some new patterns, showing the prosperity of the development of national culture. Fortunately, Qiang embroidery has always maintained the main spirit of the Qiang people's own culture, making the Qiang embroidery patterns both distinctive national characteristics and rich and colorful style features, and become a valuable treasure of national culture.

Conclusion:

The Qiang embroidery pattern does not have any symbolic meaning of power, nor is it occupied by a small number of people. It is a populace and a public. Therefore, it is particularly cordial, energetic and varied in pattern design. As a symbolic language, it has some stability.

The patterns and ornaments of Qiang costumes are not only a form beauty, but also a connection and combination between symbols and meanings. They carry the heavy cultural implication of the national experience, cultural blending, religious customs and living environment accumulated in the historical process of the development of Qiang nationality.