非遺之“錦”“繡”漫談——對話四川工藝美術大師趙敏

文：《一帶一路報道》全媒體記者 賈琪

清代蜀錦織品——“方方”Shu Brocade of Qing Dynasty — “Fang Fang”

九天開出一成都，萬戶千門入畫圖。

在如畫般美麗的錦官城，遍布著近300 項非物質文化遺產，它們猶如姹紫嫣紅的花朵，競相綻放，使得這片土地愈發熠熠生輝、光彩奪目。

在成都眾多非遺中，蜀錦、蜀繡可謂是兩朵“金花”，歷經千年時光流轉依舊璀璨奪目。近年來，伴隨國潮崛起，蜀錦、蜀繡，以其輕柔雅致的質感、明麗清秀的色彩和精湛細膩的紋樣和針法，向世人展示著精妙絕倫的“東方美”與“技藝美”蜚聲海內外。

如今的蜀錦、蜀繡發展現狀如何？二者之間有何聯系，以其為代表的成都非遺如何融入并推動世界文明互鑒，傳統非遺又如何進行傳承與創新……帶著這些問題，《一帶一路報道》記者與四川省工藝美術大師、成都市非遺保護專家庫專家、四川大學輕紡學院副教授趙敏進行了一次面對面的交流與溝通。

“絲綢之路”以“絲綢”來命名，毫無疑問，這是一條以絲綢為主要流通物品的貿易大通道。成都作為古代中國絲綢織品的主要原產地，早在三星堆文明時期，生產的絲綢就通過緬甸、印度傳到中亞、西亞以至地中海地區，這條國際貿易線路便是著名的“南方絲綢之路”。漢代及以后從“北方絲綢之路”輸往西方的中國絲綢中，也以四川絲綢為大宗。從“草原絲綢之路”輸往北亞的中國絲織品中，目前所見年代最早的也是四川絲綢……歷史證明，成都是絲綢之路的源頭所在地之一。

西方社會對中國的絲綢一直十分青睞，最著名的例子就是羅馬帝國的創立者凱撒大帝非常喜歡中國絲綢，甚至不顧羅馬元老院對他“太過奢侈”的批評，依然穿著中國絲綢做成的袍子去劇場看戲。當時，由于他身穿的長袍太過絢麗奪目，在場的觀眾無不對皇帝的新裝贊不絕口。此后，中國絲綢便在歐洲各國聲名遠揚，用中國絲綢制作的衣服成了最時髦、最講究的服裝。

中國的絲綢文明主要是向外輸出，比如伴隨著公主和親以及商業行為在海外進行技術傳播與文化傳播。同時，這種傳播又是雙向的。“絲綢之路”見證了東西方文明的交融，從中國的紡織紋樣變化來講，我們的很多紋樣，如回紋、寶象花紋就出自西方的佛教文化。又比如我們使用的織機，也與西方有著密切聯系。在這種你來我往、互相借鑒、取長補短的互動中，東西方文明相互促進、相互影響。

另外，古代成都不僅是“絲綢之路”上重要的商貿中心、交通樞紐，也是重要的文化中心。絲綢文明傳播的同時，中西方其他產品和文化也在“絲綢之路”上相互流通。比如三星堆遺址出土的海貝、象牙等文物，經研究就來自海外。

外國游客參觀傳統蜀錦紡織機器——小花樓織器Foreign tourists visit the Xiaohualou Weaving Machine, a traditional Shu brocade textile machine（本版圖片/新華社 供圖）

成都蜀錦與南京云錦、蘇州宋錦、廣西壯錦并稱中國四大名錦。蜀繡與蘇繡、湘繡、粵繡齊名，為中國四大名繡之一。兩者歷史悠久，并稱“蜀中瑰寶”。

作為非遺代表的蜀錦、蜀繡，從材料上來說，蜀錦的主要材料是蠶絲，整體感覺柔軟順滑，適合與肌膚接觸。蜀繡則沒有主次，用料雜多，繡布包含棉、麻、緞等，整體不如蜀錦輕柔順滑；從工具上來說，蜀錦靠“織”，生產主要工具是織機。蜀繡靠“繡”，主要使用繡針和繃子；從技藝上來說，蜀錦是以絲線縱橫交錯構成經緯線，然后再用彩色絲線通過機器操作完成穿梭織繪。蜀繡則是靠雙手操作針線，在繡布上游走而完成作品。

伴隨著國潮崛起，蜀錦、蜀繡等非遺技藝和產品正被越來越多人熟知，蜀錦、蜀繡在四川成產業規模發展，成都擁有全國最大的蜀錦織繡企業蜀江錦院，是外地游客及青少年體驗和研學的去處之一。隨著科技進步，蜀錦、蜀繡在織造過程中加大了對現代機器的使用，其與AI 等新技術相結合，打造成都特色漢服標志，借助直播、網店銷售等營銷手段，創新發展。

現在，蜀錦、蜀繡的發展主要面臨兩個方面的問題。一個是傳承問題，雖然有政策扶持，但真正掌握核心技術的高精尖人才比較稀缺。需要通過大師帶教和開展培訓班，培養真正熱愛蜀錦、蜀繡的年輕人才，使技術得以傳承。另一個是市場問題。傳統蜀錦、蜀繡需純手工制作，周期長、面料貴、成本高，一般消費者可望不可及。需要以文化培育市場，只有源源不斷的市場需求，才能助力非遺真正傳承下去。

文明交流互鑒是推動人類文明進步和世界和平發展的重要動力。“一帶一路”建設為非遺提供了文化支撐，大量的非遺產品走出國門，文物為媒，講述四川故事和中國故事，弘揚絲路精神，架起中國與世界人民溝通的文化橋梁。

“一帶一路”建設為非遺的發展提供了更大的機遇，非遺在“走出去”的過程中，既要打造更多的優秀原創作品，更要注意尋求能與沿線人民產生共鳴的人物故事和文化元素。同時，建議非遺用好已經搭建或正在搭建的各種國際交往平臺，進一步提升國際“朋友圈”的關注度。

Created by God, every household in Chengdu has a beautiful view.

The picturesque city of Chengdu boasts nearly 300 items of intangible cultural heritage, which, like flowers, in turn endow this land with splendor.

Among the many, Shu brocade and Shu embroidery can be described as two “golden flowers” that have been passed down for thousands of years. In recent years, with the rise of the Chinese style fashion trend, Shu brocade and Shu embroidery have once again become reputed at home and abroad. They present to the world the “aesthetics of the East” and the“aesthetics of techniques” with their elegant texture, bright and beautiful colors, and exquisite patterns and needlework.

What is the current status of Shu brocade and Shu embroidery? What is the connection between the two? How does the intangible cultural heritage in Chengdu with the two as the most prominent integrate into and promote mutual learning among world civilizations? How to pass on and innovate traditional intangible cultural heritage … With these questions in mind, we had a face-to-face exchange with Zhao Min, a master of arts and crafts in Sichuan Province, an expert in the intangible cultural heritage protection expert database in Chengdu, and an associate professor at the College of Biomass Science and Engineering of Sichuan University.

Reporter: “”?

“Silk Road” is named after “silk”. There is no doubt that it is a major trade channel with silk as the main circulated item. Chengdu was the main provenance of silk fabrics in ancient China. In the period of Sanxingdui civilization, the silk produced in Chengdu was spread to Central Asia, West Asia and the Mediterranean region through Myanmar and India. This international trade route is the famous “Southern Silk Road”. The silk products from Sichuan were bulk commodities among those delivered from China to the West via the “Northern Silk Road”in the Han Dynasty and later periods. Among those exported to North Asia via the “Prairie Silk Road”, silk products of Sichuan were the earliest we have seen so far … According to historical evidence, Chengdu is one of the origins of the Silk Road.

Reporter: ??

The Western society has always favored Chinese silk. To list the most famous example, Julius Caesar, founder of the Roman Empire, liked Chinese silk very much and went to the theater in robe made of Chinese silk despite that the Roman Senate complained about him being “too extravagant”. The robe was too gorgeous and amazed all the audience. Then Chinese silk had become well-known in European countries, and the clothes made of Chinese silk the most fashionable.

China's silk civilization served as an export. It was spread in terms of techniques and culture as princesses were married to rulers of minority nationalities in the border areas for making peace and business behaviors were carried out.The spread was bidirectional. The “Silk Road” witnessed the fusion of Eastern and Western civilizations. Many of the Chinese textile patterns, such as the fret and rosette designs, came from the Western Buddhist culture. The loom we use was also from the West. Thanks to the interaction with the two sides learning from each other to make the best of them,Eastern and Western civilizations promote and influence each other.

In addition, the ancient Chengdu was not only an important commercial and trade center and transportation hub on the “Silk Road”, but also an important cultural center. While the silk civilization spread, other products and cultures from China and the West were circulated on the“Silk Road”. For example, the seashells,ivory and other cultural relics unearthed from the Sanxingdui site came from overseas according to the research.

Reporter: ,.?

Shu brocade from Chengdu, Yun brocade from Nanjing,Song brocade from Suzhou and Zhuang brocade from Guangxi are known as the “Four Famous Kinds of Brocade in China”. Shu embroidery is as famous as Suzhou embroidery, Hunan embroidery and Guangdong embroidery, and is one of the four famous kinds of embroidery in China. The two enjoy a long history and are called “Treasures of Shu”.

Shu brocade and Shu embroidery indicate the outstanding skills of silk production. In terms of material, Shu brocade is mainly made of silk, and feels soft, smooth, and skin-friendly.Shu embroidery resorts to many kinds of materials as it is made of cotton, linen, silk, etc. It is not as soft and smooth as Shu brocade. In terms of tools, Shu brocade relies on loom or“weaving”. Shu embroidery relies on needlework with needle and tambour. Technically, for Shu brocade, silk threads are crossed to form the base, and then colored silk threads woven through with the loom. Shu embroidery resorts to hands that lead the needle and thread through the cloth.

清代蜀錦織品——“百子圖”局部細節Shu Brocade work of Qing Dynasty — Local details of “One Hundred Children”（新華社 供圖）

Reporter: ??

With the rise of the Chinese style fashion trend,Shu brocade, Shu embroidery and other intangible cultural heritage techniques and products are becoming increasingly familiar to people. They have developed into large-scale industries in Sichuan. Chengdu has the largest Shu brocade weaving enterprise in China, Shujiang Jinyuan, which has long been one of the destinations for foreign tourists and teenagers for experience and study. With the scientific and technological progress, the use of modern machines has been increased in the weaving process for Shu brocade and Shu embroidery.New technologies such as AI have been employed to create the logo for Han clothing specific to Chengdu.Live streaming, online stores and other marketing all function to promote the innovation and development.

Shu brocade and Shu embroidery are now faced with two problems. First, there are few highly talented professionals, a long production cycle, high prices of materials and high costs, which make it out of reach of ordinary consumers. The second problem is about how it can be passed down. The techniques can be passed down with policy support and training courses taught by masters, and it has driven forward rural revitalization. They are not enough, however. The core should lie in cultural inheritance, which is to cultivate the market with culture. The intangible cultural heritage can be passed down only by dint of a constant market demand.

蜀繡作品 《大熊貓》Shu Embroidery work“Giant Panda”（雷露 攝）

Reporter: ?

The exchange and mutual learning between civilizations is an important driving force for the progress of human civilization and the peaceful development of the world. The Belt and Road construction provides cultural support for intangible cultural heritage.A large number of intangible cultural heritage products have gone abroad, and cultural relics serve as the medium to tell the stories of Sichuan and China, carry forward the Silk Road spirit, and build a cultural bridge between China and the outside world.

The Belt and Road construction provides greater opportunities and broader space for the development of intangible cultural heritage. As intangible cultural heritage goes out, more excellent original works should be created, and,more important, figures, stories and cultural elements found to arouse sympathy with peoples residing along the Belt and Road. Also, various international communication platforms that have been built or are being built should be made good use of for intangible cultural heritage,so as to arrest more attention from the international community.