繡畫追求與針繡技藝協(xié)同

——略論明清閨閣顧繡的針法與繡法

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With Gu Embroidery paintings handed down from the late Ming Dynasty to Daoguang Period of the Qing Dynasty， Han Ximeng and other masters of Gu Embroidery in Songjiang Prefecture as the research objects， with Ding Pei's Embroidery Book as the theoretical basis， this article reviews the over all artistic pursuit of Gu Embroidery paintings and the leading role of the comprehensive quality of the embroiders on needlework skills.

明清時(shí)期，顧繡閨閣繡畫（以下簡(jiǎn)稱顧繡繡畫）針繡技藝 的內(nèi)核，首先是“運(yùn)靈明于針與指之間”；其次是針法、繡法等 技藝手段的運(yùn)用協(xié)同。（剩余5003字）