苑洪琪：谁也不知道当时到底是怎么绣的

苑洪琪：谁也不知道当时到底是怎么绣的

YUAN HONG-QI NOBODY KNOWS HOW THOSE EMBROIDERIES WERE DONE

The seat from which the emperor can see perfomances皇帝观戏宝座

Yuan HongqiCourt History specialist of the Palace Museum苑洪琪故宫博物院宫廷史专家

Nihao: What's the characteristics of those furniture in Juan Qin Zhai?

Y: The furniture ref l ects the habit of people living in Northeast China. The Qianlong Emperor didn't like to sit on chairs, and therefore there were a lot of beds inside Juan Qin Zhai. Qianlong was particular about mats on those beds. On those mats, many of which are worn out nowadays, were Suzhou embroideries. We have tried to recognize the patterns embroidered with the help of archives and compare them with other Suzhou embroideries in that period.

Nihao: What difficulties did you meet during the repair?

Y: Inside the Juan Qin Zhai, “ge shan (screens)”were used to separate the space. The light was expected to go through these ge shan and thus they themselves and the embroideries on them must be very thin. The technique used to do this kind of embroideries has been lost, and we can only go to Suzhou to find experienced craftsmen. Later we found Chen Ying-hua, who has work on embroideries for 20 years, to seek his advice for the reproduction of the specific kind of Suzhou embroideries. With the guidance of master Gu Wen-xia and repeated trials, we finally succeeded.

Nihao: 倦勤斋的陈设有哪些特点？

苑：倦勤斋里的陈设比较接近东北的习惯。乾隆不习惯坐椅子、凳子，所以倦勤斋里面的床特别多。乾隆对于床上所铺的垫子很讲究。垫子上用的是苏绣，但是花纹都已经破损了，我们需要去从档案中查阅，上面的苏绣登记是什么花纹，然后再去查找同一时期哪些苏绣也绣了这些图案，再以此作为参考。

Nihao: 在修复当中有遇到哪些困难呢？

苑：倦勤斋中使用隔扇将房间间隔开，因为要借自然光，所以隔扇使用的是很薄的双面绣。这个工艺已经失传了，我们只能到绣品当时的产地苏州去找绣娘，最后找到了有20年刺绣经验的陈英华老师。因为谁也不知道怎么绣，陈英华只能慢慢摸索，然后给我们提意见，邀请顾文霞大师进行技术指导，经过很多次反复才慢慢恢复成功。