【传统技艺】满绣（Manchu Embroidery）（沈阳市）传承人：杨晓桐

沈阳市人民政府

满族刺绣，俗称“针绣”、“扎花”、“绣花”，最初主要流行于满族混居的广大农村，是学习汉族刺绣后的产物。通常以家织布为底衬，以红、黄、蓝、白为主调的各种彩色丝线，用一根细小的钢针参照图案上下穿刺，织绣出各种纹样。绣品包括服饰、日用品、喜庆节令等。题材广泛，风格多样，寓意深刻，表达着满族人民对美好生活的憧憬。辽宁锦州的满族刺绣既保留了流传于女真人在皮革上补绣的稚拙、纯朴的工艺风格和“生命树”、“嬷嬷人”、“满族神话传说”等传统内容，清朝后，满人入关，使得满绣又吸收了中原地区鲁绣、江南地区苏绣等技艺和文人画的艺术营养，形成了丰富、粗犷的构图中蕴含细腻技艺的艺术风格，经久不衰，深受广大群众的喜爱。

Manchu embroidery, commonly known as "needle embroidery", "tie flowers" and "embroidery", was originally popular in the vast rural areas where Manchu people lived together. It was the product of learning Han embroidery. Usually household fabrics are used as backing, and various color silk threads with red, yellow, blue and white as the main tone are punctured up and down with a small steel needle referring to the scheme, and various patterns are woven and embroidered. Embroidery includes clothing, daily necessities, festivals and so on. It has a wide range of subjects, diverse styles and profound implications, expressing the Manchu people's longing for a better life. Manchu embroidery in Jinzhou, Liaoning Province, not only retains the naive and simple craft style and traditional contents of "Tree of Life", "Grandmother", "Manchu myths and legends" which are spread on the leather, but also absorbs the artistic nutrition of Lu embroidery and Jiangnan embroidery in the Central Plains and other arts and literary paintings after the Qing Dynasty. The pictures contain exquisite artistic style, which has a long history and is deeply loved by the masses.

巴彦殊兰（汉语名字杨晓桐），沈阳市浑南区人，出生在满绣世家，是盛京满绣第四代传承人。她的祖母哈尔哈觉罗氏，1921年作为清朝末代皇后婉容娘家王爷府的绣娘，曾为婉容绣过嫁衣。巴彦殊兰从四岁起学习刺绣，主要以满族打子绣和盘金绣为主，1992年绣制了满绣作品《浔阳遗韵》，至今已有上千幅作品。

从一缕缕丝线，到一件件艺术珍品，这其中要经过多道工序。继承、创新，一板一眼的工作需要极大的热情和耐心。传统的手工艺品之所以珍贵，在于传承的人。

杨晓桐（巴彦殊兰）4岁起跟随外祖母哈尔哈觉罗氏学习皇族刺绣技艺 ，哈尔哈觉罗氏曾于1921年为历史的清朝皇后婉容绣制过嫁衣。杨晓桐（巴彦殊兰）从事刺绣几十年来创作了很多满族艺术品，其中代表作品：《浔阳遗韵》、《金龙鱼》、《清明上河图》 、《九龙壁》、《九凤鼎》  、《美丽中国梦》 等。截止2017年杨晓桐（巴彦殊兰）传承培训1000余人；刺绣技法以盘金绣、打籽绣、平针绣及施针绣为主；作品于2018进行欧洲巡展。