#: locale=zh
## Media
### Image
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### Popup Image
### Title
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htmlText_D58AA37B_946A_079D_41DB_6D1AC604E323.html = 《一個國家，一個身體 II》
2024
數碼印花布料、刺繡、物件
200 x 300 厘米
與Henricus共同創作
A Country, A Body II
2024
Embroidery, objects and digital print on fabric
200 x 300 cm
Created in collaboration with Henricus
BUSY NEEDLES: TEXTILE EMBELLISHMENTS OF HONG KONG
On the bunk bed of a humble 1960s housing unit sits a smiling young girl, busy at work sewing colourful beads onto wool sweaters, while her brother watches as he sits above in the top bunk. The ornamentation on the sweater makes it apparent that it will be for export, most likely to the West. Happening behind closed doors and far from the spectacle of workers and machines roaring through factories, these ‘busy needles’ and cottage industries working away at embroidery, beading and drawnwork were just as instrumental to the brand of Hong Kong.
This special display presents multiple case studies of textile embellishment by the addition or removal of material, illustrating the defining qualities of commercial craft production and circulation in 20th-century Hong Kong. What unite the needlework of the embroiderers at Maryknoll Convent School, villagers of Swatow making drawnwork and cottage industry workers are the systematisation of skilled work, female labour and leadership, and adaptation of tradition for export markets. Together they also reveal the alienation between makers and consumers.
Our hands today are, by contrast, as idle as ever. Though Busy Needles is not aiming to spark a revolution in handicraft, it aims to, through its joyous presentation, encourage ‘busy eyes’ that can discern alternative and personal visions of craft hidden still before us and in plain sight.
Bruce Li
Curator of the Special Display
Chongming Tubu – Silkscreen-Printed Textiles
Collection of He Yongdi
Chongming Island is an alluvial island located within China’s Yangtze River Delta. The tubu manufacture there traces back over 600 years. By the start of the 20th century, essentially every family produced tubu, amassing up to a hundred thousand household looms at one point. Apart from the renowned yarn-dyed woven textiles with diverse weaves and multi-coloured finishing, Chongming tubu also includes a type of silkscreen-printed fabrics widely popular between the 1960s and 90s: the local women would weave their own white fabrics and have custom-made patterns printed by silkscreen artisans. Common patterns included motifs from agriculture, infrastructure, theatre, sports, diplomacy and more, intermixing ornaments of longstanding tradition with images trending at the time. From these printed fabrics, we can observe the profound transformations brought about by the Great Famine, the Cultural Revolution, and the reform and opening up of China. We can also see the way craftspeople creatively sought change within limited social narratives.
Executive Director’s Greeting
Welcome to CHAT, a unique heritage museum in Hong Kong! Housed in the former factory of Nan Fung Textiles, CHAT celebrates the admirable spirit and far-sighted entrepreneurship found in Hong Kong’s past textile industry. Contemporary artists, like entrepreneurs, have a keen antenna for today’s urgencies while creating new values in society. This winter, you will see the newest ideas and forms of textile arts from Asian artists in ANTEPRIMA x CHAT Contemporary Textile Art Prize 2024, which highlights the pioneers opening a new dimension of textile arts. The prize winner was selected by an international jury of five, but we eagerly invite you to vote for your favourite artwork for the Audience Prize during your visit.
The 2024 edition of Seed to Textile, CHAT’s flagship community programme, comes to its finale. Featuring the Guangzhou-based artist collective BOLOHO, the exhibition presents textile pieces and a video work created through community participation. The textile artworks are dyed naturally using plants lovingly grown over the past six months. In CHAT Lounge, Artefacts of Belonging bridges BOLOHO’s exhibition with CHAT’s collection of archival materials, taking a close look at the communities bonded by Hong Kong’s textile industry. Do not miss the last chance to see Misfitted: Unspoken Stories of Tailoring in The D. H. Chen Foundation Gallery. The special display explores various forms of tailoring and narrates stories of migration, friendship, resilience and progression in Hong Kong.
CHAT has also launched the Accessibility Tour in partnership with Centre for Sign Linguistics and Deaf Studies of the Chinese University of Hong Kong and SLCO Community Resources. A pair of deaf and hearing docents will introduce you to our permanent displays bilingually in signed and spoken languages. You will learn some basic Hong Kong Sign Language vocabulary while happily discovering about industrial cotton spinning processes!
We thank all the artists and community members who made the exhibitions possible. Our heartfelt appreciation goes to ANTEPRIMA and Mrs Izumi Ogino for collaborating with us to launch this significant contemporary textile art prize. The Robert H. N. Ho Family Foundation offered crucial support in the development of our Seed to Textile programme and Accessibility Tour. None of these could have happened without the generosity of our founding donor, The D. H. Chen Foundation, and our main donor, Nan Fung Group. Last but not least, we are immensely grateful for the encouraging support from donors and patrons. With you, CHAT can continue to nurture new ideas and talents!
TAKAHASHI Mizuki
Executive Director and Chief Curator
CHAT (Centre for Heritage, Arts and Textile)
Executive Director’s Greeting
CHAT, a heritage museum housed in the former Nan Fung textile mill, continues to explore how textiles have evolved in the hands of contemporary artists, designers and craftspeople. One of the oldest art forms in human civilisation, textiles – in material and form – reflect economy, politics and history while bringing beauty into everyday life. CHAT believes textiles are art that connects the past and present, as well as personal stories and global narratives. This spring, we invite you to discover the various connections fostered by textiles.
In The D. H. Chen Foundation Gallery, the new special display Busy Needles: Textile Embellishments of Hong Kong focuses on the delicate crafts of beading, embroidery and drawnwork, which were transmitted to Hong Kong and adorned countless local textile products. It also glimpses into the diligent work of those who created these textile decorations.
This season’s special exhibition Lining Revealed – A Journey Through Folk Wisdom and Contemporary Vision showcases works by contemporary artists that reflect our current society and zeitgeist through the use of traditional craft materials and techniques.
In CHAT Lounge, the thematic display Artefacts of Motif explores the connection between CHAT’s heritage collection and contemporary art, examining the inheritance and reinterpretation of traditional motifs through the case of the dragon.
We want our younger visitors to enjoy textile culture just as much, so we are thrilled to introduce a play corner with worksheets and textile toys in CHAT Lounge.
Please also feel free to take a break in the space after experiencing our exhibitions.
Throughout the exhibition period, we have lined up hands-on workshops, inspiring conversations, the Accessibility Tour and more. We encourage you to grab these opportunities to learn about Hong Kong’s vibrant textile heritage and art with your hands.
I express my sincere gratitude to the artists and creators who have contributed to the exhibitions and the lenders who have been so generous with their collections. We are grateful to the Consulate General of the Kingdom of the Netherlands in Hong Kong, the Korean Cultural Center in Hong Kong, The Robert H. N. Ho Family Foundation Hong Kong, the Hong Kong Arts Development Council, Kvadrat and Sennheiser for making CHAT’s exhibitions, community programmes and Accessibility Tour possible. Thanks go to our donors, friends and patrons, who have always provided extensive support. I am especially thankful to our founding donor, The D. H. Chen Foundation, and our main donor, Nan Fung Group, for their unwavering understanding and support, which enables CHAT to connect with more communities.
I hope our Spring Programme brings you joyful surprises as you find out more about the crafts and textiles around you and how they relate to art and history.
TAKAHASHI Mizuki
Executive Director and Chief Curator
CHAT (Centre for Heritage, Arts and Textile)
Lining Revealed – A Journey Through Folk Wisdom and Contemporary Vision
From beadwork to embroidery, straw weaving to paper craft, patchwork quilts of nomadic tribes to silkscreen prints of agrarian island communities, handicraft techniques and everyday objects inherited through time immemorial have often been sources of inspiration and materials for contemporary artists. Both folk craft and contemporary art originate from humanity’s innate desires for creation, expression, exchange and identity, and are vessels for conveying emotion and reason. This exhibition examines the interactions between folk craft and contemporary art by juxtaposing artworks, handicrafts and archival documents. Through the critical lens and creative manifestations of contemporary art, it reveals the historical, social and cultural significance embodied in folk craft and the role craft plays in reinvigorating contemporary vision. It also highlights the importance of contemporary art in the continuity of cultural heritage, such as challenging the over-celebration of the handmade and encouraging us to look beyond the value frameworks and ideologies of modern society to uncover the deeper content and meaning of folk craft.
The perspectives of craftspeople and contemporary artists also intersect at multiple points. Many contemporary artists borrow traditional craft techniques, materials and themes. In today’s globalised world, they direct attention to the local narratives and individual voices encapsulated within folk craft. Meanwhile, many craftspeople embrace change and technological advancements, dynamically responding to society’s needs by enhancing their creativity. By observing contemporary art and folk craft as a symbiotic whole, we unveil the reciprocity of different creative practices and challenge socially constructed dichotomies such as ‘traditional’ and ‘modern’, ‘global’ and ‘local’, forming a more holistic and nuanced understanding of human creation and nature. As we further synthesise the complementary wisdom gleaned from the two domains, we may inch closer to discovering the solutions to the ever-mounting challenges of our age.
WANG Weiwei
Curator
一個有名字的故事
那是1959年。在灣仔一個唐樓單位裏，李姑娘坐在她的辦公桌後方。清早時分，女士們來到小工坊上班, 其他人則拿材料回家工作：設計圖、珠子、縫紉用品，以及一件現成毛衣，有待進一步綴飾。這個成功業務很快就在全港設立分銷中心，甚至擁有自己織製毛衣的能力，向全球出口。
員工暱稱為李姑娘的李桂珍，與同代許多手藝熟練的女工一樣，於戰後從廣州來到香港。對於那個時代的女性而言，她的創業精神固然難能可貴，但最特別的還是她對設計的重視。在工業、技術和市場環境傾向標準化的環境下，她那不對稱、如油畫般的珠繡設計，依然展現出極具原創性的獨特風格。 到了1990年代，其精湛工藝甚至吸引了Christian Dior 及Oscar de la Renta等高級訂製服裝牌子的注意。
如今，李姑娘的生意和品牌在其兒子和孫女的管理下繼續營運及創新。香港鮮有家庭手工業的故事能夠跨越幾代，當中像李姑娘般得以留名、拍下影像並保存妥善記錄的設計師，更是少之又少。
展品由嚴露崙和嚴國良提供，作為李桂珍的孫女和兒子，二人延續了她的遠見與業務
A STORY WITH A NAME
The year is 1959. Inside a walk-up Wan Chai unit sits Madame Lee behind her office desk. Early in the morning, women report for work at the small workshop. Others come to pick up materials to work from home: a readymade knitted sweater, design instructions, beads and sewing articles. This successful embellishment operation will soon establish distribution centres across the city and even garner enough resources to knit its own sweaters for global export.
Lee Gui Zhen, lovingly referred to as Madame Lee by her employees, arrived in postwar Hong Kong from Guangzhou like many skilled women workers of her generation. While her entrepreneurial spirit was remarkable for a woman at the time, what distinguished Madame Lee most is her dedication to design. Her asymmetric, painterly beaded designs were unique expressions of originality within industrial, technical and market conditions that tended towards the standardised. By the 1990s, the quality of Madame Lee’s craft attracted even high-end couturiers such as Christian Dior and Oscar de la Renta.
Today, the operation continues to innovate under the stewardship of her son and granddaughter. Few stories of cottage industries last through generations in Hong Kong, rarer are those whose designer is acknowledged, named, photographed and properly documented for storytelling as Madame Lee.
Exhibits courtesy of Carolyn and Kenneth Yim, granddaughter and son who continue the visionary legacy of Madame Lee
你怦然心動了嗎？
1964年的一份郵購目錄曾宣稱：「每個人都需要毛衣,不論甚麼年紀或氣候如何......既然毛衣對我們來說不可或缺，那麼問題就是：衣櫃裏應該要有多少件毛衣才算齊全?」
在當今講求極簡主義、捨棄多餘物品的世代，眼前這些物品好像過於繁複，甚至多餘及浪費。然而透過這個展示，我們可以了解這些物品的複雜製作過程、誕生的獨特條件，以及在背後耕耘的「忙碌針線」。
請透過這些物品思索:你認為這些商業產品算是工藝 品嗎?為甚麼?在你的日常生活中,有哪些物品看起 來既沒功能又非必要,卻能令你「怦然心動」? 哪些 東西值得保留?
DOES IT SPARK JOY?
‘Sweaters are needed by everyone, regardless of age or the climate they reside in,' asserts a mail order catalogue from 1964, 'Since sweaters are indispensable to us, the question arises as to how many sweaters we need to complete our wardrobe.’
In the current age of minimalism and the doing away of excess, the objects before you may appear maximalist and perhaps even wasteful. Contextualised within this display, however, these objects demonstrate their complex making processes, unique conditions that led to their being and the ‘busy needles’ behind the work.
We invite you to enjoy these objects as food for thought: would you consider these commercial objects as items of craft – why or why not? What objects in your daily life appear without function and are dispensable, but nonetheless ‘spark joy’? What things are worth keeping?
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來自各方的工具
即使現在交通發達，從香港前往美國羅德島州的普洛維登斯也需接近24小時。然而早於20世紀初, 瑪利諾修女就已從該地進口專業描圖紙，並從其他美國城市進口布包鈕、從法國進口棉線、從英國進口縫針,全都為了品質追求。
在香港的瑪利諾修院學校，這些材料與本地織造的絲綢結合，製成傳教用的紡織品，再運往超過27個不同國家，遠至牙買加和梵蒂岡等地。來自汕頭的抽紗產品也會使用經由香港進口的愛爾蘭亞麻布和法國薄紗製作，國際色彩不遑多讓。香港除了擁有批發公司和零售店，更是海外批發商進入廣州交易會的重要門戶。內地經濟改革之前，外商訂購中國手工藝品的渠道不多，廣交會便是其中之一。
看似不起眼的縫紉用品、訂單、收據和服裝標籤,實際上是香港製造業的歷史見證。這些材料來自不同地方，最終去向各異，揭示了「香港製造」這個知名品牌背後的複雜故事，引人思考香港究竟為誰生產。
TOOLS OF THE TRADE
Even with modern-day travel technologies, a trip from Hong Kong to Providence, Rhode Island, would take nearly 24 hours. Yet, in the early 20th century, the Maryknoll Sisters were already importing specialty tracing papers from there, fabric buttons from other American cities, cotton threads from France and needles from England, all in the pursuit of quality.
At Maryknoll Convent School in Hong Kong, the materials were then combined with locally woven silks and transformed into missionary textiles shipped to as many as 27 different countries, even as far as Jamaica and the Vatican. Drawnwork products from Swatow that made use of Irish linens and French gauzes imported via Hong Kong were no less cosmopolitan. In addition to hosting wholesale firms and retail stores, Hong Kong also served as the gateway for overseas wholesalers to access the Canton Fair in Guangzhou, one of the few occasions where one could place orders for Chinese craft products, especially before the mainland’s economic reform.
Unremarkable as they may first appear, haberdashery (small articles for sewing), order sheets, receipts and clothing labels are evidence of Hong Kong’s manufacturing past. The diverse origins and end destinations of these materials reveal a complex story behind the hailed brand of ‘Made in Hong Kong' – for whom, exactly, did the city produce?
傳統的延續
龍鳳褂
香港鴻泰繡家
1970
絲面刺繡
CHAT六廠藏品
裙褂擁有數百年的歷史，可追溯至清朝，它由滿族馬褂與裙揉合南方婚服元素演變而成，至今依然是不少人的婚嫁之選。這件裙褂上的龍形態奔騰，左右對稱更添協調的美感。在中國文化中，龍代表尊貴，與鳳互為陰陽，象徵龍鳳呈祥、吉祥和諧，寄託了對新人的美好祝願。
繡有龍鳳圖案的裙褂曾一度被視為封建象徵，而被孔雀褂取代，但香港的繡莊未受影響，繼續延續這傳統。一些家庭會將裙褂傳給下一代，寓意福氣代代相傳。不過，裙褂圖案由人手刺繡，售價高昂，因此到了六十年代，出現了以珠片取替刺繡及租借裙褂的方案。
Continuing tradition
Kwan kwa bridal gown with dragons and phoenixes
Hung Tai Embroidery, Hong Kong
1970
Embroidery on silk
Collection of CHAT
The kwan kwa bridal gown dates back several centuries to the Qing dynasty (1644–1911). Blending the Manchu riding jacket and skirt with the wedding attire in southern China, it remains a popular choice for today’s brides. The dragons on the kwan kwa displayed exude energy and life, and the symmetrical design brings out an aesthetic of harmony. A symbol of power and nobility in Chinese culture, the dragon is often paired with the phoenix to represent the complementary forces of yin and yang, signifying an enduring and prosperous union between the newlyweds.
Although the dragon and phoenix were once seen as remnants of China’s feudal past and were replaced by motifs like the peacock, the embroidery sector in Hong Kong remained unaffected and continued the tradition. In some families, the kwan kwa is passed down as an heirloom. Due to the high labour cost of hand embroidery, the alternatives of rental kwan kwa and kwan kwa embellished with sequins had emerged by the 1960s.
古納斯．特科爾
《母親的期望》
2024
刺繡、紡織橫幅 191 x 254 厘米
《母親、母親》
2024
刺繡、紡織橫幅 92 x 143 厘米
由CHAT六廠與第16屆沙迦雙年展共同委託
古納斯·特科爾在世界各地組織工作坊，與女性參與者一起創作大型紡織橫幅，表達她們的生活經驗和所面對的社會及經濟挑戰。 《母親的期望》是她於印尼弗洛雷斯島駐留期間，與巴朗村（Barang Village）五位母親進行縫紉工作坊的成品之一。在集體創作的過程中，母親們從彼此的觀點中學習，並練習如何在個人表達與共同思考之間取得和諧的平衡。此橫幅以弗洛雷斯島為背景，呈現參與者自己設計的對話框，除了表現出她們養育小孩、參與儀式、分享夢想和歌唱搖籃曲等個人期望，也包含對過去、現在和未來的反思。旁邊的《母親、母親》則描繪了參與者在工作坊編織的過程。
GÜNEȘ TERKOL
Hopes from Mothers
2024
Embroidery on textile banner 191 x 254 cm
Ibu Ibu
2024
Embroidery on textile banner 92 x 143 cm
Co-commissioned by CHAT and Sharjah Biennial 16
Terkol has been organising workshops worldwide and co-creating large banners with women to visualise their experiences and socio-economic challenges. Hopes from Mothers is the result of her workshops with five mothers from Barang village during her residency in Flores, Indonesia. In the process of collective making, the mothers learnt from each other’s perspectives and practised balancing individual expression and communal thinking in harmony. Set against the backdrop of the landscape of Flores, the speech balloons in the banner illustrate the participants’ hopes and dreams – ranging from nurturing children and engaging in rituals to sharing aspirations and singing lullabies – and reflect on the trilogy of past, present and future. The accompanying piece Ibu Ibu illustrates the collaborative weaving process in the workshops.
嚴潤森
《從這裏到那裏II》
2024
紗線、針、木棍、透明尼龍 174 x 315 厘米
由CHAT六廠與第16屆沙迦雙年展共同委託創作
這條像印尼傳統「宋吉」（songket）肩布般的織物，由嚴潤森在印尼弗洛雷斯島的巴郎村 (Barang Village)駐留期間，與當地婦女合作用傳統編織方法創作完成。裝置模仿巴郎村中作為社區聚集地的「主屋」的屋頂，是對當地社區集體精神的致敬。織物混合了天然染色的紗線與合成纖維，兩端和周邊飾有代表屋子、水、稻田、貨幣等形象的傳統紋飾, 共同承載着當地世代延續的生活信念，即與自然和諧相處，以及個人與群體互助共存。同時，織物的顏色和形態均從彩虹中汲取靈感：彩虹無處不在，卻在不同的社會文化中被賦予了不同的象徵意義。嚴潤森亦藉此強調了跨文化交流在當下社會中的迫切性。
大家的參與亦是作品的另一個重要組成部分。 請兩人一組，在布面上刺繡自己的名字。名字不僅是人們身份的重要組成部分，也在與他人建立聯繫、促進情感的過程中扮演關鍵角色。在交流並刺繡名字時，你們需要相互合作，調整姿勢以方便刺繡，通過集體創作的過程，思考自身的個性、情感和包容力, 以及自我與他者之間的關係。
YIM YEN SUM
From Here to There II
2024
Yarn, thread, needle, wooden stick, transparent nylon 174 x 315 cm
Co-commissioned by CHAT and Sharjah Biennial 16
Made in the style of the Indonesian songket, this shawl was woven using traditional techniques by Yim and women from Barang Village in Flores, Indonesia during Yim’s residency. The installation resembles the roof of the ‘main house’, a place of communal gathering, of Barang Village, thus honouring the collective spirit of the local community. The fabric blends naturally dyed yarns with synthetic fibres, its ends and edges adorned with traditional motifs of home, water, paddy field, currency and more. Together, these elements embody the region’s long-held beliefs, such as living in harmony with nature and fostering mutual care and coexistence between the individual and the community. The colours and form of the work also draw inspiration from the rainbow – a universal phenomenon imbued with diverse symbolic meaning across different social cultures – further highlighting the urgency of cross-cultural communication in today’s society.
Your participation is another key element of the work. In groups of two, you are invited to embroider your names onto the textile. Not only are names an important component of a person’s identity, they also play a central role in establishing connections and strengthening relationships with others. In the process of embroidery and exchange, you will need to work together and adjust positions to work with needle and thread. During the process, you are encouraged to reflect on your own personality, sentiments, tolerance and the relationship between you and your partner.
圖象的痕跡
自古以來，龍的呈現形式多不勝數。在古代中國，龍的圖案尤與宗教、皇權相關。一般百姓並不能使用。如今，它巧妙應用於民間日常生活及節慶場合，成為表達願景的象徵。在香港，龍亦貫穿於不同物件中，例如世代相傳的婚嫁禮服裙褂、紀念英國皇室慶典的橫幅，和重新演繹傳統圖案形象的當代藝術品等。
「圖象的痕跡」由帶有龍元素的CHAT藏品出發，思考傳統圖案形象是如何被延續和給予嶄新的演繹、其象徵意義和氛圍從何而來，以及評賞新演繹時的相關考量。此展示亦與季度展覽展開對話，試圖拓闊對常見於民間工藝中的傳統圖案形象的理解。
ARTEFACTS of MOTIF
The dragon has taken countless forms through the centuries: in ancient China, it was reserved for religious or imperial use; today, it is a symbol of prosperity widely applied in everyday life and on special occasions. In Hong Kong, the dragon has appeared on a range of objects, including the traditional kwan kwa marriage gowns passed down through generations, banners commemorating British royal ceremonies, and works of contemporary art that reinterpret the traditional motif.
Through the dragon, this display of CHAT Collection objects explores how traditional motifs are sustained and reinterpreted, how they gain character, and how the success of their contemporary interpretations is measured. It also aims to create dialogue with the seasonal exhibition by expanding on understandings of traditional motifs often featured in folk craft.
執行董事歡迎辭
歡迎來到CHAT六廠這個香港獨一無二的紡織文化藝術館！CHAT六廠位於前南豐紡織的廠房內，以不同形式頌揚昔日香港紡織業令人敬佩的精神和高瞻遠矚的企業家本色。當代藝術家和企業家一樣，對當今社會的迫切議題具有敏銳的觸覺，也為社會創造新的價值。今個冬季，「ANTEPRIMA x CHAT六廠當代紡織藝術獎2024」呈現來自亞洲藝術家最新的紡織藝術意念和形式，表揚開拓紡織藝術新領域的先驅者。大獎得主已由五人國際評審團選出，而我們亦誠邀你在參觀期間投選「觀眾最喜愛大獎」的得獎作品。
CHAT六廠旗艦社群計劃「種學織文」的2024年項目即將迎來尾聲。來自廣州的藝術家團體「菠蘿核」展示他們與社區成員共同創作的紡織和錄像作品，展覽中的 紡織藝術品以過去六個月來精心種植的植物進行天然染色。在CHAT客廳，「歸屬的痕跡」將菠蘿核的展覽與 CHAT六廠收藏的檔案資料聯繫起來，細看透過香港紡織業形成的不同社群。千萬不要錯過欣賞「別出心裁：不 為人知的裁縫故事」的最後機會，這個在陳廷驊基金會展廳的特別展示探討不同形式的服裝剪裁，從中敘述在香港有關移民、友誼、對抗逆境和進步的故事。
CHAT六廠亦與香港中文大學手語及聾人研究中心和語橋社資合作推出「共融導賞之旅」，導賞團由一對聾人和健聽導賞員合作帶領，透過手語和口語雙語設計介紹我們的常設展覽。在輕鬆了解棉紡工序的同時，你將學習到一些基本的香港手語詞彙，一舉兩得！
我們向所有促成展覽的藝術家和社區成員表達謝意， 也衷心感謝ANTEPRIMA和荻野泉女士與我們合作設立這個重要的當代紡織藝術獎項。何鴻毅家族香港基金在「種學織文」計劃及「共融導賞之旅」的發展過程中提供了不可或缺的貢獻。倘若沒有我們的創始捐助機構陳廷驊基金會和主要捐助機構南豐集團的慷慨支持， 這一切都不可能成事。最後，我們感激捐助者和贊助人的鼓勵與支持。全賴你們，CHAT六廠才能繼續培育創意和人才！
高橋瑞木
CHAT六廠（六廠紡織文化藝術館）
執行董事及首席策展人
執行董事歡迎辭
CHAT六廠是座落於前南豐紡織廠房的紡織文化藝術館，一直探索紡織品在當代藝術家、設計師和工匠手中的演變過程。紡織品是人類文明中最古老的藝術形態之一，其材質和形式都反映着經濟、政治和歷史，同時為日常生活帶來美感。 CHAT六廠相信紡織品是連結過去與現在、個人故事與全球敘事的藝術。這個春天，我們邀請你來發掘紡織品所締結的各種聯繫。
在陳廷驊基金會展廳，全新特別展示「忙碌的針線：香港的 布面綴飾工藝」聚焦精緻的釘珠、刺繡和抽紗工藝，這些工 藝傳承至香港後，綴飾了無數本地紡織產品。展示亦窺探這 些精緻紡織品背後，眾多技工的辛勤工作。
本季的特別展覽「湧動的暗綫 ── 遊走在民間智慧與當代視野之間」展出多位當代藝術家的作品，透過傳統工藝材料和技術，反思當前的社會和思潮。
在 CHAT 客廳，主題展示「圖象的痕跡」探討 CHAT六廠藏品與當代藝術之間的聯繫，由龍的圖案出發，思考傳統圖案 形象是如何被延續和給予嶄新的演繹。
我們希望年幼的參觀者也能同樣享受紡織文化，因此我們很高興能在 CHAT 客廳設立一個設有工作紙和紡織玩具的遊戲區。你也可以在參觀展覽後，在這裏小憩片刻。
在整個展覽期間，我們安排了一系列精彩活動，包括手作工作坊、富啟發性的對談、共融導賞之旅等。我們鼓勵你把握這些寶貴機會，親身動手摸索香港充滿活力的紡織傳統和藝 術。
我向所有為展覽作出貢獻的藝術家和創作人，以及慷慨借出藏品的收藏家表達謝意。我們衷心感謝荷蘭駐香港總領事館、駐香港韓國文化院、何鴻毅家族香港基金、香港藝術發展局、 Kvadrat 及 Sennheiser 令 CHAT六廠的展覽、社區活動及共融導賞之旅得以順利進行，同時也感激CHAT六廠捐款者、廠友和贊助人，他們一直提供廣泛的支持。非常感激創始捐助機構陳廷驊基金會和主要捐助機構南豐集團，他們堅定不移的理解和支持，使CHAT六廠能與更多社群建立聯繫。
我希望 CHAT六廠的春季展覽能為你帶來愉悅的驚喜，讓你更了解身邊的手工藝和紡織品，以及它們與藝術和歷史的密切關係。
高橋瑞木
CHAT六廠（六廠紡織文化藝術館）
執行董事及首席策展人
大眾化的綴飾
婚嫁裙褂是少數在香港綴飾並主要供應本地市場的服裝。傳統上，最為奢華昂貴的裙褂可花數月時間刺繡，針線的密集程度甚至能完全蓋過紅色底布。1960年代後期出現了運用珠片裝飾的裙褂，能快速完工且價格相宜，讓更多女性能在大喜之日穿上這種傳統禮服。
融合了手工藝與工業材料的珠飾裙褂，反映了1970年代的香港社會──經濟方面，服裝業的蓬勃發展帶 來了大量珠子、亮片和手藝嫻熟的技工；文化方面，成長中的嬰兒潮世代追求海外潮流，不拘泥傳統美 學,擁抱新材料和新質地。例如這件長年日曬而褪色的1970年代裙褂，就用了日本進口的珠片，並採用西式平領和合身的腰線設計。
香港自1960年代起，可見開始生產珠子，當時的塑膠製造商模仿寶石，製造出幾可亂真的膠珠；經典的 「糖果珠」手袋甚至將膠滴熔化到布料上，實現了珠飾的機械化。從這些懷舊物品可以看出，由於珠飾 產品生產迅速且價格低廉，普羅大眾都能享受綴飾華麗的精美衣物。
EMBELLISHMENT FOR ALL
The kwan kwa bridal gown is one of few garments finely embellished in Hong Kong that served a primarily local clientele. Traditionally, the most premium and costly kwan kwa, with lavish embroidery covering almost every inch of its red base fabric, would take months to make. In the late 1960s, beads and sequins were unconventionally employed to embellish a kwan kwa quickly, resulting in a more affordable version of the traditional gown that women donned on their big day.
Merging handicraft with industrial materials, the beaded kwan kwa also embodies Hong Kong society in the 1970s. Economically, the booming garment industry saw an abundance of beads, sequins and associated skilled labour. Culturally, baby boomers coming of age looked abroad for fashion trends, parting with traditional aesthetics to embrace new materials and textures. This sun-faded 1970s kwan kwa, for example, made use of sequins imported from Japan and assumes a Western flat collar and fitted waistline.
Beads are also noted to have been locally produced since the 1960s, when plastic manufacturers imitated precious stones to deceptive likeness. The classic ‘candy-dot’ handbag even mechanised beading by melting plastic droplets onto textiles. Apparent in the nostalgia evoked by these items, the speed of production and affordability of beaded products provided access for most locals to enjoy the extravagant world of textile embellishment.
如機器般流暢
手工製品很易被機製產品所取代，這使手工藝與工業之間的對立感更為強烈。然而，抽紗這種未能完全機械化的技術，卻證明了手工藝品的製作只要變得更系統化，達到工業標準，亦能實現大規模生產。
抽紗，即是把線從布料中抽出，以製成蕾絲般的織品，雖然聽起來有點陌生，但其實不如我們想像般遙遠。早於1900年代，香港已有公司訂購中國生產的抽紗產品作外銷之用，每筆訂單經過分銷中心和承包商的網絡，最終送到手藝精湛的農村居民手中，尤其是汕頭地區。抽紗技術於19世紀由傳教士傳入中國，最後於1980年代經歷商業貿易衰退，其生產高峰據報是1940年代初期，當時多達30萬名汕頭居民加入了這條價值超過1200萬美元的國際供應鏈。
中國在1949年革命結束之後，曾有部分抽紗生產線短暫遷移至香港；到了1953年，新成立的國營工廠又把生產線移回內地。新中國成立後，國家的形象攸關重要，出口商品受到前所未有的審查，從手帕的寬度以至刺繡一串葡萄所用的線量均有嚴格規範，造就了品質最精緻的「汕頭蕾絲」。
WELL-OILED NEEDLES
Hand-crafted goods are all too easily replaced by their machine-made counterparts, contributing to the perceived opposition between craft and industry. However, the story of drawnwork, a technique yet properly mechanised, proves that even handicraft can be produced en masse when systematised to industrial standards.
Drawnwork, or the removal of threads from a fabric to produce lacelike cloth, may sound unfamiliar but is closer to home than imagined. As early as the 1900s, firms in Hong Kong placed orders for drawnwork to be produced in mainland China for export. Each order trickled down networks of distribution centres and contractors before arriving in the skilled hands of rural villagers, most notably in Swatow. Between its introduction to China as a craft taught by missionaries in the 19th century and the decline of its commercial trade in the 1980s, drawnwork production was reportedly most prolific in the early 1940s. At that time, up to 300,000 Swatow inhabitants took part in an international supply chain valued at over US$12 million.
In the aftermath of the Chinese Revolution in 1949, drawnwork production was partially and briefly relocated to Hong Kong. By 1953, however, new state-run factories diverted production back to the mainland. With the reputation of the new nation at stake, goods for export came under unprecedented scrutiny. From the strict regulations of handkerchief widths to the amount of thread permitted to embroider a grape, 'Swatow laces' of the most exquisite quality emerged.
姚君潔
《把我的家帶走》
2021-2024
織物、木頭、陶瓷、紙張、電子零件、銅、現成物
尺寸可變
在這組系列裝置作品中，姚君潔直覺地將她的個人經驗轉化成視覺日記，邀請觀眾想像物件、故事與情感之間的聯繫。家庭、健康和身份等主題並列於各個作品中，交織着幽默與脆弱。通過巧妙運用木工、陶藝、刺繡、 縫紉、繪畫等方式，這組裝置提供了一次難忘的冥想 體驗，讓觀者反思個人的歸屬感、適應力和各種複雜的感受，並與他人分享。
YIU KWAN KIT ELLEN
Take My Home Away
2021-2024
Textiles, wood, ceramic, paper, electronics, copper, found materials
Dimensions variable
In this series of installations, Yiu intuitively transforms her personal experiences into a visual diary and invite the visitors to imagine the relationships between objects, stories and emotions. Each component relates to topics of family, health and identity, interwoven with humour and fragility. Through the woodwork, ceramics, embroidery, sewing and drawing, the installation sets the stage for a memorable experience to reflect on personal experiences of belonging, adaptability and complex feelings which can be shared with other people.
姚君潔
《天跌落嚟當被冚：藥毯》
2024
傳統中草藥、織物
260 x 200 厘米
CHAT六廠委託作品
這件拼布裝置希望透過輕柔的布料和香氣，喚起回憶和情感。中藥代表着悠久的傳統，半透明的織物則象徵着時間的流逝。兩者結合起來，創造出一種關於治療和懷舊的共享體驗，既私密又複雜。
《陰間陽間只隔了一層紙》
2024
香紙、彈性線、固定層、刺繡、縫線
160 x 300 厘米
CHAT六廠委託作品
金銀紙常見於華人民間習俗，是祭拜先人或鬼神時火化的祭祀品之一。姚君潔將這種傳統上短暫且具有象徵意義的材料轉變為大型編織品，重新想像它在社會中的文化意義。 她精心摺疊每片紙張，將其縫合、編織，形成一大片自由流動的織物，這種脆弱單薄的材料遂演變成一種觸感強烈的存在。這件作品賦予金銀紙新的意涵和價值，並思考傳統的重要性和未來發展。
YIU KWAN KIT ELLEN
If The Sky Falls, Use It as A Blanket
2024
Traditional Chinese herbal medicine, textiles
260 x 200 cm
Commissioned by CHAT
This patchwork installation intends to evoke memories and emotions through delicate fabric and aroma. The Chinese herbal medicine represents longstanding traditions, while the translucent textiles symbolise the flowing of time. Together, they create a relatable experience of healing and nostalgia that is both personal and complex.
This World and The Next
2024
Joss paper, seraflex, interfacing, embroidery, threads
160 x 300 cm
Commissioned by CHAT
Joss paper is commonly found in Chinese folk practices and is one of the burnt offerings used in ancestral and deity worship. Yiu transformed this traditionally temporary yet symbolically significant medium into a large-scale weaving to re-imagine its cultural meaning in our society. Folding each piece of paper with care, she sewed and wove paper strips into a large free-form textile, turning the fragile material into a tactile presence. The work provides new meaning and value to joss paper while looking at the role and future of tradition.
小林七生
《龍之能量》
2021
《粒界/有關石頭的性格》
2023
《太陽裝置》
2022
《水之記錄》
2025,CHAT六廠委託作品
《呼喚光的花園》
2025,CHAT六廠委託作品
小林七生的創作以串珠和聲音表演為主，並從自然和日常生活中汲取靈感。對她來說, 連續不斷的珠子、亮片和聲音都代表着律動和能量。她以刺繡和串珠方式創作立體作品, 探索自然和生活中的能量和不可見的維度。 她在天然的石頭上創作，也在歷史悠久的和服腰帶上刺繡，並將廢棄的電路板、工業零件和珠子、亮片融合在一起，煥發新的能量。
KOBAYASHI NANAO
Energy of Dragon
2021
Ryukai / About the Character of Stones
2023
Solar Device
2022
Record of Water
2025, Commissioned by CHAT
Light Calling Garden
2025, Commissioned by CHAT
Kobayashi’s practice ranges from beading to sound performances, and her inspiration comes from nature and everyday life. For her, continuous beads, sequins and sounds all represent vibration and energy. She uses embroidery and beading techniques to create three-dimensional works, exploring the energy and invisible dimensions of nature and life. From natural stones to a historical obi (kimono waist sash), discarded circuit boards and industrial parts to beads and sequins, Kobayashi merges different materials to generate new energy.
崇明土布——絲網印染布
精選自何永娣土布收藏
崇明島是中國長江三角洲的沖積島嶼，島上的土布織造至今已有六百多年的歷史。至上世紀初，幾乎家家戶戶都從事土布紡織生產，民間織布機達十萬台。 崇明土布最廣為人知的是織法多樣、紋飾豐富的色織布。除此之外，曾廣泛流行於 1960 至 1990 年代的絲網印染布也獨具一格：當地女性在自家織出白布，然後請絲網印染工匠定製圖樣。這些圖樣的內容包括農業生產、基礎建設、戲劇、體育、外交等，糅雜傳承已久的紋飾和當時流行的圖案。從這些印染布上，我們可以讀到大饑荒、文化大革命以及改革開放這些劇烈的社會變化, 同時感受到工匠們在有限的社會敘事中發揮創意，尋求改變。
工人周報》節選，1970-1971（複製品）
Clippings from Workers Weekly, 1970-1971 (Reproductions)
© 香港基督教工業委員會 The Hong Kong Christian Industrial Committee
張徐展
《狼與虎與其他》
2022
單頻道錄像
17’45”
《樂手紙偶群-白兔No.1》
2022
鐵絲、報紙、電光紙、漿糊、塑膠珠、飾品
12 x 20 x 22 厘米
張徐展引用了德國童話故事「布萊梅樂隊」 中,弱小動物們疊在一起變成巨大影子嚇跑壞人的橋段：紙蒼蠅們層層疊起，在大風中搖擺，形成不同的影子。狼、虎、兔子、老 鼠、狐狸、鼠鹿等動物的影子不斷隨機周旋變化着，讓人無法定義究竟看到的是甚麼形象。作品質疑我們認定理所當然的一切, 可能只是幻覺。我們熟悉的民間故事，很多都不專屬於某一種文化，而是在不同社會中以或多或少不同的形式流傳。
從《 樂手紙偶群-白兔 No.1》中可見，張徐展大量運用傳統紙紮的材料與技法，但讓紙偶停留在紙紮品以報紙堆疊打胚的階段，保留原始材料的捏塑與皺褶，探索紙材豐富細膩的層次。
ZHANG XU ZHAN
Wolf and Tiger and Others
2022
Single-channel video
17’45”
Musicians – Rabbit No.1
2022
Wire, newspaper, glazed paper, paste,
plastic beads, accessories
12 x 20 x 22 cm
In Wolf and Tiger and Others, Zhang Xu references a scene from the German fairy tale ‘Town Musicians of Bremen’, in which small vulnerable animals stand on top of each other to form a large composite shadow to scare villains away. Here, flies made of paper stack atop each other, swaying precariously in the wind and forming an ever-shifting shadow – silhouettes of a wolf, tiger, rabbit, mouse, fox, mouse-deer and more randomly dissolve into one another to render indeterminate shapes. The work questions if everything that we know for certain is an illusion. The stories we grow up with may not be unique to one culture; the same message may just take slightly different forms in different local contexts.
In Musicians – Rabbit No.1, Zhang Xu generously utilises traditional papercraft materials and techniques. He intentionally showcases the papercraft figures in their unrefined stage, with stratified pages of newspaper congealed and retaining much of the organic bumps and creases, to explore the elaborate and multilayered medium of papercraft.
從我家到你家
想像一下這樣的一個家：酒杯放在精巧的杯墊上，麵包則以精緻的布料包起──這樣的家居對於西方的抽紗品消費者而言尋常不過，但對於生產這些工藝品的汕頭村民卻顯得可笑。當時，許多技工的房子即使牆壁剝落,也或許只能用舊報紙修補。
這個破落的家實際上來自一名女兒的童年回憶，她的母親在1970至80年代是一名汕頭的抽紗女工。對於技工而言，抽紗產品不僅顯得荒謬，其純白的顏色和鏤空的設計更被視為不吉利。汕頭地區數百年來擅長製作色彩鮮艷且層次分明的刺繡，傳統裙褂的耀目顏色和立體質感就是典型例子。然而,當抽紗工藝變得商業化及脫離原有的傳教含義後，卻在當地誕生出一種獨特的混合美學。
每頭熊貓、每抹紅色、每根絲線和每個漢字，都把地方意象、對稱圖案、技法和材料融入歐洲的紡織品上，並取得了巨大的商業成功。汕頭蕾絲雖已不再流行，但仍有大量的剩餘庫存，見證了這門工藝曾經靈活應對不同的時代和地區，並在消費者和生產者、商業和文化之間巧妙協商。
MAKING WORK ONE’S OWN
Picture a home where wine glasses are cushioned with coasters and bread is swaddled in delicate cloths. This home was as commonplace for consumers of drawnwork in the West as it was laughable for its producers in Swatow, who were patching the peeling walls of their village homes with tattered newspaper.
This threadbare home was, in fact, the childhood home as recalled by the daughter of a Swatow drawnwork embroiderer active in the 1970s to 80s. To the makers, drawnwork products were not only ludicrous but also inauspicious in their use of negative space and the colour white, which has funereal associations in traditional Chinese culture. As typified by the dazzling colours and raised textures of a traditional kwan kwa marriage gown, the region has had a knack of embroidering with vibrancy and depth for hundreds of years. But, as drawnwork became commercialised and divorced of its original missionary context, a distinct hybrid aesthetic emerged.
One panda, swab of red, thread of silk and Chinese character at a time, regional imageries, symmetries, methods and materials made way onto the surfaces of the European textile form to great commercial success. Swatow lace has since fallen out of fashion, but sizeable deadstock remains as testament to a craft that once cleverly negotiated with time and place, as well as between consumer and producer, commerce and culture.
忙碌的針線：香港的布面綴飾工藝
在1960年代一間簡陋的住宅單位裏，一個面帶微笑的小女孩坐在雙層床下層，正忙着把五顏六色的珠子縫上毛衣，而她的弟弟則坐在上層床觀看。毛衣上的裝飾讓人清楚知道那是外銷之用，很可能會運往西方國家。這些「忙碌的針線」和家庭手工藝業者都「閉門工作」,默默從事刺繡、釘珠和抽紗工序，與工廠裏嘈吵的機器和忙碌的工人距離甚遠，然而對於塑造香港的品牌形象卻同樣重要。
這個特別展示為觀眾帶來了多個布面綴飾工藝的案例，這些工藝透過添加或去除物料來裝飾紡織品，展現了20世紀香港商業工藝生產和商品流通的特點。瑪利諾修院學校的刺繡、汕頭村民的抽紗、家庭手工業者的針線活──這些案例的共通點，在於它們體現了技術工作系統化、女性的勞動和領導角色，以及為了出口市場而調整傳統。這些案例同時也反映了製作者與消費者之間的隔閡。
與上一代人的巧手相比，我們這代人的手或許顯得空閒。「忙碌的針線」雖沒打算引發一場手工藝革命，但我們希望透過有趣的展示，鼓勵大家用 「忙碌的眼睛」去發現那些隱藏在我們眼前的工藝，建構自己對工藝的個人見解。
李勺言
特別展示策展人
感謝我們的合作夥伴!
THANK YOU TO OUR COLLABORATORS!
此展覽結集了許多熱愛香港的人士和願意分享知識、故事和資源的專家。
我們衷心感謝
創始贊助機構：陳廷驊基金會
主要贊助機構：南豐集團
鳴謝: (以英文姓氏順序)
威斯康新大學密爾沃基分校圖書館美國地理學會圖書館
Bed & Beyond
Blooming Nakanishi 公司
British Pathé
潮繡世家
COMING-SOON
香港知專設計學院傳意設計研究中心視覺傳意資料館
廣東名瑞(集團)股份有限公司
政府新聞處
鴻運繡莊
瑪利諾修院學校基金有限公司
慕雲娜設計室有限公司
南泱記 (@namyangkee.hk)
Ply-Knits
政府檔案處歷史檔案館
守繡家
香港大學圖書館特藏
添利織造廠有限公司
藝成潮繡
陳恭敬 Robin Edgerton (@house_of_edgertor)
張西美 Tarlan Amigh (@tarlandotco)
梁月心 歐陽偉航
梁月慧 Wendy Dager (@vintagepursegal)
李翠怡 周順超
研究員：蘇佩儀
視覺設計：noonhappyhour
The making of this exhibition brought together the knowledge, stories and resources of many generous specialists and enthusiasts of Hong Kong and beyond.
Our deepest gratitude goes to
Founding Donor: The D. H. Chen Foundation
Main Donor: Nan Fung Group
Contributors: (In alphabetical order by surname)
American Geographical Society Library, University of Wisconsin-Milwaukee Libraries
Bed & Beyond
Blooming Nakanishi and Company
British Pathé
Chao Xiu Shi Jia
COMING-SOON
Graphic Archive, Centre for Communication Design,
Hong Kong Design Institute
Guangdong Famory (Group) Co. Limited
Information Services Department
Lucky Embroidery
Maryknoll Convent School Foundation Limited
Mowana Design House
Nam Yang Kee (@namyangkee.hk)
Ply-Knits
Public Records Office, Government Records Service
Shouxiujia
Special Collections, The University of Hong Kong Libraries
Team Lee Fashion Knitters Limited
Yichengchaoxiu
Albert Chan Robin Edgerton (@house_of_edgertor)
Edith Cheung Tarlan Amigh (@tarlandotco)
Leung Yuet Sum Ann Vincent Auyeung
Leung Yuet Wai Wendy Dager (@vintagepursegal)
Trinny Li Zhou Shunchao
Researcher: Elsie So
Visual Identity: noonhappyhour
構思先行
為了讓不同的繡工能夠複製出相同的刺繡設計，首先須在紙上繪製一個圖樣，這些來自瑪利諾修院學校基金的珍貴繪圖就是例子。然後，技師會在圖樣上打孔，用粉末通過孔洞在布上印上圖案，再依據圖案進行刺繡。
從1924年至1970年，除了二戰期間，瑪利諾修女營運了一個手工縫紉繡坊，最高峰時期有90名婦女參與，負責製作神父的祭衣、祭壇布以及其他宗教紡織品,，供本地和海外的傳教機構使用。這項郵購訂單業務不僅為修院帶來收入，亦讓修女透過教授刺繡的圖案和含義，把信仰傳揚至繡工。
1954年修院出版的郵購小冊子曾引用教宗庇護十二世的話,他呼籲「現代藝術......要加入這場美妙的讚美詩大合唱」。與一般婦女經常刺繡的葡萄和藤蔓等具象繁複的圖案不同，這裏的展示選取了強調幾何和現代主義的設計，由Francis Venard Lotito修女創作，顯然受到抽象繪畫的啟發。這些設計響應了教宗推動的變革，亦促使我們思考裝飾藝術也可以簡單，超脫華貴。
展品由瑪利諾修院學校基金有限公司提供，以慶祝學校成立100周年紀念。
THOUGHTS BEFORE NEEDLES
Before a needlework design is replicated, a master copy, like these precious drawings from Maryknoll Convent School Foundation, must first be sketched out on paper. Perforations are made on copies of the design, then the embroiderer presses powdered chalk over the perforations to imprint the design outline onto the fabric. The embroiderer follows the outline to make the design come alive.
From 1924 to 1970, save the disruptions of the Second World War, the Maryknoll Sisters operated a hand-embroidery workshop comprising up to 90 women to produce priest vestments, altar cloths and other religious textiles for missionary bodies in Hong Kong and abroad. The mail order business generated income for the Convent and allowed the Maryknoll Sisters, through each embroidered motif and the meaning it carried, to advance their mission with their employees, many of whom they converted to faith.
In a mail order pamphlet published by the Convent in 1954, Pope Pius XII is quoted to call for ‘modern art ... to join its voice to [the] wonderful choir of praise’. In contrast to the figurative and ornate motifs of grapes and vines, which the women embroidered many of, the selected designs here are emphatically geometric and modernist. Made by Sister Francis Venard Lotito, who is evidenced to have referenced abstract painting, these designs responded to the progressive shift led by the Pope and serve as material to consider ornamentation without frivolity.
Exhibits courtesy of Maryknoll Convent School Foundation Limited, in celebration of the centennial anniversary of the school’s founding.
洪英仁
《動物之環》
2023
稻草、天然染色的莎草、白沙、六聲道聲音裝置
長頸鹿：20 x 33 x 102 厘米（前)、18.5 x 34 x 98.5 厘米（後）
袋鼠：11 x 47 x 37 厘米
蒼鷺：21 x 26.5 x 36 厘米
大猩猩：37 x 20 x 40 厘米
熊：53 x 35 x 71 厘米
與草編師Chung Kyung Lee和Yeon Hwa Park，以及編曲家Owen Lloyd共同創作
CHAT 迴廊裏陳列着五對動物草鞋（長頸鹿、 袋鼠、蒼鷺、大猩猩和熊），你還會聽到結合田野錄音與合成聲音創作而成的聲音作品。
洪英仁的作品《動物之環》邀請你想像一個處於人類和野生動物之間的中間地帶，回望那個被遺忘的時代，群體和平等是人類生活的核心，而我們與大自然的聯繫也更為緊密。 你曾經與非人類的存在溝通過嗎？那些時刻是真實的，還是虛幻的？
YOUNG IN HONG
Ring of Animals
2023
Straw, natural dyed sedge, white sand, sound installation with six-channel audio
Giraffe shoes: 20 x 33 x 102 cm each (front), 18.5 x 34 x 98.5 cm each (hind)
Kangaroo shoes: 11 x 47 x 37 cm each
Heron shoes: 21 x 26.5 x 36 cm each
Gorilla shoes: 37 x 20 x 40 cm each
Bear shoes: 53 x 35 x 71 cm each
Collaboration with straw weaving masters Chung Kyung Lee and Yeon Hwa Park and composer Owen Lloyd
Exhibited along CHAT Arcade are straw-woven shoes for five animals: giraffe, kangaroo, heron, gorilla and bear. You may also listen to the field recordings and synthesised sounds around you, which blend nature and human creation.
Hong’s Ring of Animals invites you to imagine a middle ground between humanity and wildlife, looking back at a forgotten time when humans put community and equality first and were ever so closely connected to nature. Do you recall ever communicating with non-human beings? Were those moments real or fictional?
作品標題《動物之環》取自作家塔爾耶・維薩斯（Tarjei Vesaas）的短篇小說《一如記憶中般》（As It Stands in the Memory)。此作品於 2013 年首次受安特衛普 Kunsthal Extra City 委託創作，並獲 SBS 基金會與韓國國立現代美術館的韓國藝術家獎推廣基金贊助製作。
The title Ring of Animals is derived from As it Stands in the Memory, a short story by Tarjei Vesaas. The work was first commissioned by Kunsthal Extra City, Antwerp in 2013. Its production was sponsored by Korea Artist Prize Promotion Fund from SBS Foundation and the National Museum of Modern and Contemporary Art, Korea.
湧動的暗綫 —— 遊走在民間智慧與當代視野之間
從串珠到刺繡，從草編到紙紮，從遊牧民族的拼布花被到農耕小島的絲網印染，這些在民間傳承已久的手工技藝和日常物品，是許多當代藝術家的創作材料和靈感來源。民間工藝和當代藝術都源自於人類對創造、表達、交流和身份的基本追求，是人類情感和智性的表達方式。本次展覽聚焦傳統民間工藝和當代藝術之間的互動，將當代藝術創作、手工藝品和歷史文獻並置呈現。展覽借助當代藝術的批判性思考和創意表現，揭示民間工藝所蘊藏的歷史、社會和文化意義，以及為當代視野帶來的種種 啟發，同時強調當代藝術實踐在文化傳承和延續上的重要角色，例如讓我們警惕對手工製作的過度迷戀和推崇，也提醒我們超越現代社會的價值框架和意識形態去理解民間工藝的內涵和意義。
從實踐者的角度出發，我們可以看到民間工藝和當代藝術之間很多重合的部分：不少當代藝術家將傳統工藝中的技術、材料和主題融入自己的創作，在全球化的大環境下，關注民間工藝背後的本土敘述和個人聲音。民間工匠也並非一成不變，他們接受技術更迭和環境變化，回應社會需求，不斷提升創造力。將當代藝術和民間工藝看作一個具有互補性的整體，可以揭示不同創意實踐之間的關聯性， 打破「傳統」與「現代」、「全球」與「本土」的人為分離，讓我們更整體和細膩地理解人類的創造與自然的關係。通過融合兩個領域的智慧，我們或許能逐步找到方法，以應對日益艱巨的現代挑戰。
王慰慰
策展人
當代演繹
《紡織龍》
草圖
田口行弘
2018
紙本墨筆
CHAT六廠藏品
《紡織龍》
錄像
CHAT六廠
2018
高清錄像
龍存在於亞洲各地的共同想像，可謂連接着不同的文化。為了創作《紡織龍》，藝術家田口行弘向香港工藝師學習紮作傳統火龍的技巧，再加以革新，加入紡織元素，以竹製織布機構成龍頭，舊衣編成的大小立方組成龍身，貫徹其將事物解構及重組的藝術理念。
公眾的參與是這次演繹的一大核心。田口設計了不同難度的編織方法，在公共空間帶領工作坊，邀請群眾共同製作龍身。龍是小朋友也熟悉的形象，有效連結和吸引不同背景的人士，而共同織造龍這種庇佑民眾的瑞獸，也如同聚合大家的美好願景,《紡織龍》每次舞動時，更繼續將希望和凝聚力傳遞開去。
Contemporary Interpretations
Spun Dragon sketches
Taguchi Yukihiro
2018
Ink on paper
Collection of CHAT
Spun Dragon video
CHAT
2018
HD video
The dragon motif is known across Asia and bridges different cultures. To create Spun Dragon, artist Taguchi Yukihiro learnt to make Hong Kong’s traditional fire dragon from a local craftsman before innovatively incorporating textile elements into his design. The dragon’s head is constructed in the shape of a loom while the body is composed of cubes woven from recycled clothing, embodying the concepts of deconstruction and reorganisation in Taguchi’s practice.
Public participation is a core aspect of Taguchi’s interpretation of the dragon motif. Taguchi designed weaving methods of varying difficulties so that diverse members of the public could create the dragon’s body together at weaving workshops in public spaces. The dragon resonated even with children, effectively connecting individuals from different backgrounds. The collective act of weaving the dragon – an auspicious creature protecting people – also brings together everyone’s kind wishes. Every time the Spun Dragon dances, it spreads hope and promotes unity.
社會需求
紀念橫幅
康城織染廠
1953
提花梭織棉布
CHAT六廠藏品
棉紗商標
東南紡織有限公司
20世紀中
平版紙面印刷
CHAT六廠藏品
此橫幅是傳統圖案與現代機織的結合，突顯了在回應社會需求時設計的演變。龍在傳統中國藝術中通常占據主導地位，而鳳則處於次要地位。然而，在這面為紀念英女皇登基而製作的橫幅中，鳳成為主角，傳統雙龍戲珠中的火珠被皇冠取替，而英文字句的出現也反映出西方文化的影響。
同樣地，後方桌面展示的三張雙語棉紗商標也反映了與西方的貿易交流。這些在產品包裝上的商標選用了深植民心的龍圖案，引起廣泛顧客的認同，其他紡織廠也會使用雙喜、金杯等吉祥圖案。此處展示的圖案均根據商標名稱設計，體現了當時廣告的簡單直接，而這些圖案亦已可以大量印製，作宣傳之用。
Adapting to Society
Commemorative banner
Hong Seng Dyeing and Weaving Factory
1953
Jacquard woven cotton textile
Collection of CHAT
Yarn labels
South Textiles Ltd
Mid-20th century
Lithograph on paper
Collection of CHAT
Combining traditional motifs with modern machine weaving, this banner reveals the evolution of design in response to social needs. In traditional Chinese art, dragons usually hold a dominant position, while phoenixes typically take a secondary role. However, in this banner created to commemorate Queen Elizabeth II’s coronation, the phoenix takes the spotlight. It also modifies the classic ‘dragons playing with a pearl’ motif to feature a crown. The English phrases on the banner are another sign of Western cultural influence.
Similarly, the three bilingual cotton yarn labels displayed behind are illustrative of Hong Kong’s trading activities with the West. These labels are found on yarn packaging and make use of the popular dragon motif; auspicious motifs such as the double happiness symbol and golden cups were also used by other textile factories. Designed according to the names of the brands, the images here reflect the simplicity and directness of the advertisements of the time. By then, these motifs and designs were easily mass-produced for promotional purposes.
織品的現代保存：林靜雅
「汕頭蕾絲」（抽紗）收藏家林靜雅，來自一個從事工業紡織生產的家族。有次她偶然看到這麼一幅手工精巧的抽紗桌布，卻被丟在工廠地上,滿佈破洞。這件事驅使她開始收集抽紗的失落歷史，保存相關的設計草圖和訂單記錄。
這個從未公開的檔案庫，揭示了汕頭抽紗原來遍及全球，與香港亦有歷史淵源。現在林靜雅定居北京，並共同創辦了一家公司，專門買賣和推廣抽紗產品的剩餘庫存。
KEEPING TEXTILES TODAY: LIN JING-YA
'Swatow lace' drawnwork collector Lin Jing-Ya hails from a family of industrial textile producers. By chance, she came upon this drawnwork tablecloth, exquisitely handcrafted yet tattered with holes, left on a factory floor. The incident compelled her to collect the lost history of ‘Swatow lace’ in the form of design sketches and order sheets.
Her never-before-seen archive reveals the global reach of the craft, as well as its role in the historical connection between the mainland and Hong Kong. Lin is now based in Beijing and has co-founded a company to trade and promote deadstock drawnwork products.
織品的現代保存：歐陽偉航
這批珠飾收藏品來自歐陽偉航先生。歐陽偉航生於1960年代，成長於香港經濟騰飛的時代，見證了香港製造業的繁榮。
他發現，對於外國人而言，香港製造的產品都是高質量的，而對本地人而言則比較普通和日常，啟發他研究「香港製造」的設計和意味。
KEEPING TEXTILES TODAY: VINCENT AUYEUNG
This set of beaded materials belongs to Vincent Auyeung. Born in the 1960s and raised in the midst of Hong Kong’s economic boom, Auyeung witnessed the golden age of Hong Kong manufacturing industry.
He discovered that, while foreigners perceive Hong Kong’s manufactured goods as of high quality, locals mostly see them as ordinary. This stark difference inspired him to study the designs and meaning of ‘Made in Hong Kong’.
織品的現代保存：瑪利諾修院學校基金
瑪利諾修院在2020年進行結構檢查時，拆除了假天花後，發現了一扇自1970年以來一直緊閉的閣樓門。修院的縫紉繡坊在1970年停止運作，而閣樓內仍存有超過四百幅刺繡設計草圖、三千張訂單以及珍貴的縫紉材料。
隨後校友和在校學生共同努力，義務為這些物品進行編目和維護工作。這些檔案現由瑪利諾修院學校基金保存，今次在此展出以慶祝學校百年紀念。
KEEPING TEXTILES TODAY: MARYKNOLL CONVENT SCHOOL FOUNDATION
During a structural inspection of the Maryknoll Convent in 2020, a false ceiling was taken down to reveal an attic door that had remained closed since 1970, the year when the Convent’s sewing and embroidery workshop ceased business operations. Over 400 embroidery design sketches and 3,000 order sheets were discovered within it, along with precious artefacts of embroidery materials.
The cataloguing and conservation of objects that ensued united the voluntary efforts of alumni and current students alike. The archive is now kept in posterity by the Maryknoll Convent School Foundation and is exhibited here in celebration of the school’s centennial anniversary.
織品的現代保存：黎萍映
本地年輕收藏家黎萍映在英國留學期間，偶然發現並買下了一件標有「香港製造」的襯衫。這次意外邂逅促使她展開一場持續至今的旅程——從外地把香港製造的時尚物品帶回香港這個原產地，並為它們尋找合適的用家。
此處展出的服飾運用了少見的珠繡技法，旁邊附有一份對應的塑膠珠子樣辦卡。
KEEPING TEXTILES TODAY: CHRISTY LAI
While studying abroad in the United Kingdom, young local collector Christy Lai spotted and purchased a ‘Made in Hong Kong’ collared shirt. The unexpected encounter put her on an ongoing journey to bring Hong Kong-made fashion items back here to their place of origin and to match them with suitable wearers.
The piece displayed presents an uncommon beading technique and is paired with a matching plastic bead sample sheet.
纖維的隱憂
從1950年代起，西方國家認為香港龐大的工業輸出對他們的本地經濟構成威脅，於是對香港實施出口貿易管制。棉製品尤其受到出口配額所限制，迫使紡織製造商改用其他纖維物料，從而催生了各種新產品，例如這些縫上精緻珠繡邊飾的羊毛衣。
冷戰時期，美國對中國大陸的商品實施禁運，包括汕頭的抽紗產品，香港則沒有受到禁運令的直接影響。禁運的嚴格程度隨時間而變，時而允許商品部分工序在大陸完成，但必須在香港進行某種形式的「加工」，例如縫邊。對於珠飾毛衣，根據具體進口目的地的條例，有時甚至允許編織或珠繡其中一項工序在大陸完成。香港的生產商不斷靈活應對貿易規限，展現出適應力和創造力。
為了更有效管控貿易，每件商業製作的紡織產品都必須標明其材料、製作技術、尺寸和款式。郵購目錄為求吸引客戶閱讀，設計變得更色彩繽紛，文字也更生動。今天再翻閱這些目錄，可以看到昔日的世界曾對香港的優質商品有着強烈渴求，而針與線也曾在全球地緣政治中扮演了重要角色。
THREADS OF CONCERN
From the 1950s, countries in the West began to see Hong Kong’s vast industrial output as a threat to their local economies and imposed trade regulations on the city’s exports. Cotton goods were especially restricted by export quotas, prompting textile manufacturers to diversify in their fibre choice, giving way to new products such as these iconic wool sweaters beaded with ornate border designs.
The Cold War era also caused the United States to impose an embargo upon goods from mainland China, like drawnwork products from Swatow. Hong Kong, however, faced no such restrictions. The embargo varied in strictness over time. Sometimes goods were allowed to be partially produced in the mainland but must be ‘finished’, such as hemmed, in Hong Kong. For beaded sweaters, it was at times even acceptable for either the knitting or the beading to be done in the mainland, depending on the destination's requirement. Producers in Hong Kong were constantly adapting to trade regulations with flexibility and ingenuity.
To better administer control, each commercially crafted textile product became specified by material, technique, dimension and style. To communicate this information attractively to clients, mail order catalogues became colourful in appearance and language. Today, they also represent a world that once craved quality goods from Hong Kong and when threads and needles played a palpable role in global geopolitics.
艾希莎・沙迪諾娃
《Dastarkhan（她的裙子）》
2024
絎縫布料、棉花和壁紙
尺寸可變
CHAT六廠委託作品
四條彩色軟墊圍成一個方形，仿製了來自中 亞的傳統餐桌佈置dastarkhan。Dastarkhan 是中亞人們分享食物和談天說地的重要場合； 被邀請加入 dastarkhan，是進入一個中亞家庭和理解中亞生活文化的關鍵環節之一。佈置 dastarkhan、準備食物、照顧家人和客人，往往是中亞女性的工作。整個裝置形似一件高級訂製服。艾希莎·沙迪諾娃和母親一起縫製了這件「可穿的桌布」，藉此致敬那些像她母親一樣作為家庭真正支柱的中亞女性。
沙迪諾娃從傳統的哈薩克裝飾中汲取靈感， 設計了軟墊上的獨特圖案。她邀請觀眾想像一個在哈薩克成長的女性，伴隨着她的環境、 風景、動植物和日常物品，這些都是讓她能將生活操持得井井有條的「魔法來源」，而裙子上繡着的祈求食物的空杯子，則更凸顯這位女性的力量和地位。
AZIZA SHADENOVA
Dastarkhan (Her Skirt)
2024
Quilted fabric, cotton and wallpaper Dimensions variable
Commissioned by CHAT
Four colourful quilts are joined together in a square to replicate the traditional Central Asian table setting dastarkhan, a communal space where food and conversations are shared. Being invited to a dastarkhan means being welcomed into a Central Asian family and a crucial step in understanding Central Asian culture. Setting up the dastarkhan, preparing food and taking care of family members and guests are important responsibilities of Central Asian women. This installation of a large skirt is evocative of haute couture. With the help of her mother, Shadenova completed this ‘wearable tablecloth’, paying homage to Central Asian women like her mother who are the true pillar of their family.
Drawing inspiration from traditional Kazakh ornaments, Shadenova designed unique patterns to embellish the borders of the quilts. She invites visitors to visualise the environment, landscapes, flora, fauna and everyday objects that would have accompanied the life of a woman growing up in Kazakhstan. The empty cups embroidered onto the skirt are used in prayers for food and provision, therefore further emphasising this woman’s strength and status.
葉甫納
《一根線的故事》
2024
混合媒介拼貼、布料
228 x 145 厘米
CHAT六廠委託作品
《T恤的全球旅行》
2024
混合媒介拼貼、布料
204 x 164 厘米
CHAT六廠委託作品
《一根線的故事》以刺繡的方式，敘述了一根線的旅程，從蠶絲紡線和棉花收穫的自然過程，到成衣生產的密集型勞動。《T恤的全球旅行》則訴說一件T恤在不同地方被生產、 加工和銷售的故事。這一系列作品檢視工廠工人的生活、勞工外判，以及零售商在當代供應鏈中的角色。這些敘事交織在一起，亦強調了女性在勞動、藝術和技術中的重要性， 以及紡織工人在歷史上推動經濟和社會轉型的無形貢獻。
這些作品由葉甫納與母親甫立亞，以及Goldsmiths Fashion & Embodiment Studio的留學生們張蘇萌、朱子臨、肖奕君、劉澤萱合作完成。
YE FUNA
The Story of a Thread
2024
Mixed media collage on fabrics
228 x 145 cm
Commissioned by CHAT
The Global Journey of a Tee
2024
Mixed media collage on fabrics
204 x 164 cm
Commissioned by CHAT
Through the medium of embroidery, The Story of a Thread traces the journey of a thread, from the natural processes of silk farming and cotton harvest to the intensive labour of garment production. The Global Journey of a Tee follows the story of a T-shirt as it is manufactured, finished and sold across the world. This series of works examines the lives of factory workers, labour outsourcing and the role of retailers within modern supply chains. Woven together, these narratives emphasise women’s role in labour, art and technical craft, as well as the hidden contributions made by textile workers in economic and social advancements throughout history.
These works are collectively made by Ye, her mother Fu Liya and Chinese students at the Goldsmiths Fashion & Embodiment Studio, namely Zhang Sumeng, Zhu Zilin, Xiao Yijun and Liu Zexuan.
葉甫納
《新民間矩陣》系列
《民間藝術圖譜》
2024
混合媒介拼貼、畫布
111 x 143 厘米
《中國民間藝術圖譜》
2024
混合媒介拼貼、畫布
111 x 143 厘米
《快樂仙女》
2023
混合媒介拼貼、布料
172 x 130 厘米
《月宮仙女》
2023
混合媒介拼貼、布料
172 x 130 厘米
《新民間矩陣》系列根植於葉甫納長期以來對中國民間藝術的研究和實踐。對她來說，布可以編織、折疊、縫合、拼貼，易於保存，便於攜帶又容易塑型，是承載文化和記憶的最佳容器。紡織藝術進而是一種自我表達的媒介，能夠呈現出層次豐富且極具表演性的民間智慧。在這個系列中，她使用各種現成織物進行再創作，融入民間藝術常見的審美元素和文化符號，思考它們在當代文化環境中的定位。她將自己的形象編織在作品中， 表達個人身份的同時，亦提醒我們，我們都在社會中扮演着多重角色。
除了織物作品之外，葉甫納還呈現了一系列的短視頻作品。她對網絡社交媒體時代的「民間藝術」深感興趣，並認為短片製作是新一代的「民間藝術」。在軟件的幫助下，一般人也可以輕鬆地使用範本來製作引人入勝的短片。這些範本讓沒有專業技能的人也能快速上手，透過創意展現民間智慧與美學。這不僅是民間藝術的數碼轉型，也反映了大眾文化與自我表達的力量。
YE FUNA
Neo-Folk Matrix series
Neo-Folk Art Diagram
2024
Mixed media collage
on canvas
111 x 143 cm
China Neo-Folk Art Diagram
2024
Mixed media collage
on canvas
111 x 143 cm
Kuai Le Fairies
2023
Mixed media collage
on fabrics
172 x 130 cm
Moon Palace Fairies
2023
Mixed media collage
on fabrics
172 x 130 cm
The Neo-Folk Matrix series stemmed from Ye’s long-term research and artistic practice in Chinese folk art. To her, cloth can be woven, folded, sewn and patchworked. It can be easily stored, carried and shaped, making it a perfect vessel for culture and memories. Textile art is thus a medium of self-expression, embodying folk wisdom that is highly performative and complex. In this series, Ye creates with found textiles and incorporates aesthetic elements and cultural symbols commonly found in folk art to consider their role, meaning and adaptability within the contemporary cultural context. She weaves her own images into the works to express her identity and to remind us that every individual can play multiple roles in society.
In addition to her textile works, Ye presents a series of short video works. She is fascinated by the ‘folk art’ in the age of social media and sees the creation of short videos as a new generation of folk art. With the help of software and mobile apps, one can easily use templates to put together engaging videos. These templates allow people without professional training to quickly get started and creatively express popular wisdom and aesthetics. This digital transformation of folk art also reflects the power of popular culture and self-expression.
薩莉瑪・哈基姆
《她的珍奇櫃；櫃子（四、五、六）》
2024
印花布、自然及人工染色紗線、滌綸、合成棉、 蕾絲、織物、不鏽鋼線、巴爾沙及松木
尺寸可變
與 Mama Kristina Meti、Mesayu Ariza Puspita、 Awanda Brima Destia 和 N Sabar Oktavani 共同創作
由CHAT六廠與第16屆沙迦雙年展共同委託
這一系列作品是薩莉瑪・哈基姆在印尼弗洛雷斯島駐留期間，對當地紡織文化以及發現女性原始人化石這段歷史進行考察後的創作。 這組作品旨在從女性的角度，探討誰在講述人類的故事、歷史如何被書寫，以及知識如何生產和演進。
在過去，珍奇櫃是貴族、學者們收藏和展示奇珍異物的地方，它們在西方早期現代科學發展中扮演了重要的角色。然而，在歷史上， 女性往往被限制在科學知識生產的邊緣， 大多負責一些次要工作。藉珍奇櫃的形式，哈基姆陳列了她用與女性緊密相關的紡織物料所製作的珍奇物品，和她所縫製的女性版《進步的行進》（March of Progress）圖表一起，想像一個以女性經驗為中心的人類進化故事。作品同時隱含着反諷的意味：那些用織物塑造的物件，不過是在復刻真實物件的形態，這是否再次讓女性主導的技術和知識淪為次要地位？用傳統紡織文化去質疑和生產科學知識，真的是個好主意嗎？
SALIMA HAKIM
Her Cabinet of Curiosities; Cabinet (4, 5 and 6)
2024
Calico fabric, natural and synthetic dyed yarn, dacron, synthetic cotton, lace, woven textile, stainless steel wire, balsa and pine wood
Dimensions variable
Collaboration with Mama Kristina Meti, Mesayu Ariza Puspita, Awanda Brima Destia and N Sabar Oktavani
Co-commissioned by CHAT and Sharjah Biennial 16
This series of works is the result of Hakim’s residency in Flores, Indonesia. During her stay, she researched the local textile culture and the discovery of a prehistoric female human skeleton in the area. This installation reflects on her observations from the female perspective, examining who have been narrating human history, how history is written, and how knowledge is produced and has evolved.
In the past, cabinets of curiosities were where intellectuals stored and displayed their collections of exotic and unusual objects. These cabinets played a prominent role in the development of early Western modern sciences. However, women were historically excluded from scientific knowledge production and relegated to secondary roles. Borrowing the idea of these cabinets, Hakim displays various curiosities made with textiles – a material closely associated with women – and her version of the March of Progress, telling an alternative story of human evolution centred on the female experience. Ironically, the work also questions the use of textiles to mimic real objects: are these textile objects reinforcing the secondary nature of female-centric techniques and knowledge? Is it really a good idea to subvert and produce scientific knowledge through traditional textile culture?
鄰家的針線
大部分的針黹工作除了偶爾用到繡花框，通常只需針、線和手指，並可在手中完成，這讓主要為女性的繡工能在家裏或小作坊中邊做刺繡邊做家務。1954年 《香港貿易月刊》的一份早期官方報告，描述了這個家庭式工業如何開始在香港興起:
「中國一直以精美的刺繡服裝、桌布和手帕聞名...... 尤以汕頭的刺繡技藝最為著稱......1949年，許多汕頭工人移居香港，正是他們的縫紉技術和經驗, 促進了這個行業的本土發展。」
僅在1954年的上半年，就有33家刺繡機構獲得官方認可，專門負責協調勞動力和生產，並把產品外銷西方國家，銷售額超過400萬港元。據報導，1962年的女性繡工平均日薪為港幣4元，而男性設計師則達20元。刺繡產品後來在商業規模、品質和產品種類上均見成熟，逐漸成為涵蓋釘珠、抽紗、貼花、十字繡和機器刺繡等多種產品的總稱。
雖然香港的刺繡行業享譽國際，但關於這些幕後勞動力的數據和資料卻甚為稀少。此處的照片揭示了繡工的身份、生活經歷、性別角色、社區、社會經濟地位，以及手工藝行業中的權力關係。
NEEDLES NEXT DOOR
Except for the occasional need of an embroidery frame, most needlework could be carried out in the palm of one’s hand with only a needle and some thread. This allowed makers, mostly women, to embroider piece rate at home or in small workshops while tending to other domestic tasks. An early official report from the Hong Kong Trade Bulletin in 1954 describes the rise of this cottage industry in the city:
‘China has long been famed for finely-embroidered garments, table linen and handkerchiefs ... Swatow, especially, has always been noted for the skill of its inhabitants at embroidery ... in 1949, many Swatow workers moved to Hong Kong and it is principally their skill and experience in needlework which is helping to expand this industry locally.’
In the first half of 1954 alone, 33 embroidery establishments were officially recognised to coordinate labour and production of goods for export to countries in the West, with sales reaching over HK$4 million. In 1962, women embroiderers reportedly earned an average daily rate of HK$4, while male designers earned HK$20. Later, embroidered goods matured in commercial scale, quality and product type and became a catch-all phrase encompassing beadwork, drawnwork, appliqué, cross-stitch and machine-embroidery.
Yet, despite global recognition, there are few reliable statistics on the scale of this skilled labour force at work behind closed doors. The photographs here elucidate the makers’ identities, lived experiences, gender roles, communities and socio-economic statuses, as well as the power dynamics within the handicraft trade.
阿瑪古兒．門利巴耶娃
與蘇阿德．加拉
《河中的夢》
2011
單頻道錄像
23’20”
《水之母親：Gulbibi Balkhash》
2024
單頻道錄像、織物
錄像：16’12”；裝置：尺寸可變
由Artcom委託，為展覽「Interweaving Climate, Water(s) and Communities」創作
《裏海 9》
2024
多頻道錄像、織物
尺寸可變
這組藝術裝置包括三件影像作品和一系列織物，深入探討中亞地區以水為中心的文化、生態和人類職責。三件影像作品分別反思巴爾喀什湖、裏海和鹹海日益嚴峻的生態挑戰，以及隱藏在其背後的政治、經濟和社會問題，旨在促進藝術與環保之間的對話， 呼籲全球對水體和生態環境的未來共同承擔責任。
裝置中的織物呈現由人工智慧生成、以中亞傳統紡織技術編織的圖案，引發深思：傳統智慧與新興科技能否彼此互補，以助我們找出保護社會未來的方案？
ALMAGUL MENLIBAYEVA
AND SUAD GARA
Transoxiana Dreams
2011
Single-channel video
23’20”
Mother Water: Gulbibi Balkhash
2024
Single-channel video, textile
Video: 16’12”; installation: dimensions variable Commissioned by Artcom for Interweaving Climate, Water(s) and Communities
Caspian 9
2024
Multi-channel video, textile
Dimensions variable
This installation, comprising three video works and a series of textile works, delves into the culture, ecology and human responsibility centred around water in Central Asia. Each video reflects the ever-worsening ecological crises of the Balkhash Lake, the Caspian Sea and the Aral Sea as well as the political, economic and societal forces behind them. The works urge for dialogue between art and environmental conservation, calling for global response and accountability for the future of water bodies and the natural environment.
The textile works feature patterns generated by artificial intelligence and woven using traditional Central Asian textile techniques, which prompts the question: can combining traditional wisdom and new technologies help us find solutions for the survival of future society?
阿里·貝瓦吉
《來自大海的療癒》
2024
編織塑膠和棉線、滌綸、銅、玻璃珠、陶瓷、 木材、竹、現成物料
尺寸可變
上萬年來，手工紡織品和其他工藝品的生產一直盛行於世界各地。如今，古老的織品和物件在大型博物館中展出，不僅因為它們製作精美，更因為它們反映了製作者與其原生文化和自然環境之間的關係。在峇里島，以天然 料製造紡織品的歷史同樣悠久，例如從各種樹根和葉子提取染料，為棉織物染色的傳統。受到當地自然景觀變化的啟發，阿里·貝瓦吉使用多種材料作為藝術創作媒介，希望展示這些材料在人類史上，於紡織品及其他物品製作中發揮的重要作用。
ARI BAYUAJI
Healing by the Sea
2024
Woven plastic and cotton threads, dacron, copper, glass beads, ceramic, wood, bamboo, found materials
Dimensions variable
The manual production of textiles and other artefacts has thrived around the world for tens of thousands of years. Today, ancient textiles and objects are displayed in major museums not only for their beauty but also as reflections of their creators’ relationship with their cultural and natural environments. Bali also has a long history of producing textiles from natural materials. For example, the dye used to colour cotton fabric is traditionally extracted from root barks and leaves. Reflecting on the changes in the local natural environment, Bayuaji employs a diverse array of materials as his mediums to highlight their creative power throughout human history.
韓夢雲
《不可承受的潔淨：三個故事》
2025
高清錄像、侗族亮布、鑄鋁樹枝、不鏽鋼定製侗族風格長椅、紙扇
錄像：11’9”；裝置：尺寸可變
CHAT六廠委託作品
韓夢雲的《夜的實踐》系列以侗族織物為媒介，探討女性在家庭和社會中的地位與遭 遇、勞 動價值、壓迫機制和創造力。在《不可承受的潔淨：三個故事》中，韓夢雲深入推進了此創作方向，透過對中國侗族村落及印度齋浦爾地區的考察，對家庭和紡織 傳統的價值構建機制提出質問。
通過交織在一起的敘事，韓夢雲批判對手工勞動的過度美化，並揭示文化、美學和情感 的價值構建如何變得複雜。有別於過往以侗族亮布圍繞在影像周圍的做法，這次韓夢雲直接將影像投射到經蛋白處理過的織物上, 凸顯出織物閃亮的肌理。當觀眾手持紙扇靠近影像,畫面雖變得清晰，但卻將家庭混亂和無休止勞動的場景顯露出來。這些重疊的故事與影像直視價值製造的機制，促使我們反思勞動、性別與文化身份是如何被不斷演化的工業系統所塑造，甚至扭曲。
HAN MENGYUN
The Unbearable Purity: Three Stories
2025
HD video, liangbu (glossy indigo fabric) made by Chinese Dong minority, cast aluminium tree branches, Dong carpentry-inspired stainless steel benches, paper fans
Video: 11’9”; installation: dimensions variable
Commissioned by CHAT
Han Mengyun’s Night Practice series examines women’s statuses and experiences in both domestic and public spheres. Through Dong minority textiles, she discusses the labour, oppression and creative power associated with femininity. In The Unbearable Purity: Three Stories, Han furthers her inquiry into value-building within domestic spheres and textile traditions across Dong villages in China and Jaipur, India.
Through these narratives, Han critiques the over-glorification of manual labour and reveals the complication of cultural, aesthetic and emotional values. Departing from previous installations that used glossy Dong fabric as a surround for moving images, this installation projects a video directly onto textiles treated with egg white, activating their luminosity. Handheld fans are provided to sharpen the projections’ blur, only for viewers to discover scenes of domestic chaos and endless labour. Together, these overlapping tales and visuals confront the mechanisms of value-making, prompting reflection on how labour, gender and cultural identity are shaped – and perhaps distorted – by evolving industrial systems.
註：第二個故事參考了瑪麗・道格拉斯的《潔淨與危險》 ； 最後一個故事來源於韓夢雲的個人考察，以及她對威廉・ 莫里斯的「藝術與工藝運動」和華特．班雅明的「前工業時代的靈光」理論的批判性思考。
Note: The second narrative references Mary Douglas’s Purity and Danger. The third narrative reflects on Han’s research as well as William Morris’s Arts and Crafts Movement and Walter Benjamin’s concept of aura in the pre-mechanical age.
《幾何系列 ── 四方形》設計，用於刺繡祭服斗篷和披肩，紙本墨水及鉛筆，約1950年代中
Geometric Series – Square embroidery design for a chasuble cope and stole, ink and pencil on paper, about mid 1950s
《幾何系列──三角形》設計，紙本墨水及鉛筆，約1950年代中
Geometric Series – Triangle embroidery design, ink and pencil on paper, about mid 1950s
《抽紗工藝》，法國，約1930年代
Drawn Thread Work, France, about 1930s
《抽紗藝術》，美國及英國，1891
The Art of Drawnwork, USA and UK, 1891
《毛主席語錄》主題印染布
Quotations from Chairman Mao- themed printed cloth
《毛主席語錄》誕生於20世紀60年代，在文化大革命期間更是成為廣泛傳播的政治讀物，俗稱為「紅寶書」，幾乎人手一冊，對社會各階層產生了深刻的影響。
Commonly referred to as the ‘Little Red Book’, Quotations from Chairman Mao was published in the 1960s and became a widely circulated political text during the Cultural Revolution. The book had a profound impact on all social strata, with nearly everyone in the country owning a copy.
《編織海洋》
2020至今
編織塑膠和棉線、木槳、塑膠繩、木材、現成物料
尺寸可變
阿里．貝瓦吉在峇里島海岸發現了大量纏繞在樹根上的塑膠繩，看上去就像是樹木自然生長的一部分，促使他萌生將它們轉變成編織材料的想法。這裏的一系列作品發想於使用新的常見「自然」材料替代日益稀少的天然材料。
在2020年初疫情期間，貝瓦吉聘請了兩位當地居民擔任助手，協助拆解和清洗所收集的塑膠繩，並將其紡成不同顏色的塑膠細線。隨後，他與一家在疫情前已面臨經濟困境的小型傳統峇里島編織作坊合作，將這些細線編織成抽象的紡織藝術品。目前，項目的合作者已擴展至超過15人，不僅為受疫情衝擊的人們帶來實質幫助，也推動環境永續，在峇里島及更廣泛地區持續進行生態教育。
Ari Bayuaji
Weaving the Ocean
2020 - ongoing
Woven plastic and cotton threads, wooden oars, plastic ropes,
wood, found materials
Dimensions variable
Ari Bayuaji discovered a large amount of plastic ropes tangled in the roots of trees on the coast of Bali. The ropes looked like an organic part of the trees and inspired him to repurpose them as weaving material. The work exhibited here began with the idea of replacing vanishing natural materials with new, commonly available ‘natural’ materials.
In early 2020, during the pandemic, Bayuaji recruited two local assistants to help unravel and clean the harvested plastic ropes, turning them into ne, colourful threads. He then wove the threads into abstract artworks at a small traditional Balinese weaving workshop that was already economically fragile before the pandemic. The project has since expanded to include over 15 collaborators, not only supporting those affected by the pandemic but also educating people in Bali and beyond about environmental sustainability.
《編織海洋》展出於紗廠坊。
阿里．貝瓦吉
《編織海洋》
2020至今
編織塑膠和棉線、木槳、塑膠繩、木材、現成物料
尺寸可變
阿里．貝瓦吉在峇里島海岸發現了大量纏繞在樹根上的塑膠繩，看上去就像是樹木自然生長的一部分，促使他萌生將它們轉變成編織材料的想法。這裏的一系列作品發想於使用新的常見「自然」材料替代日益稀少的天然材料。
在2020年初疫情期間，貝瓦吉聘請了兩位當地居民擔任助手，協助拆解和清洗所收集的塑膠繩，並將其紡成不同顏色的塑膠細線。隨後，他與一家在疫情前已面臨經濟困境的小型傳統峇里島編織作坊合作，將這些細線編織成抽象的紡織藝術品。目前，項目的合作者已擴展至超過15人，不僅為受疫情衝擊的人們帶來實質幫助，也推動環境永續，在峇里島及更廣泛地區持續進行生態教育。
Weaving the Ocean was on displayed at The Hall.
Ari Bayuaji
Weaving the Ocean
2020 - ongoing
Woven plastic and cotton threads, wooden oars, plastic ropes,
wood, found materials
Dimensions variable
Ari Bayuaji discovered a large amount of plastic ropes tangled in the roots of trees on the coast of Bali. The ropes looked like an organic part of the trees and inspired him to repurpose them as weaving material. The work exhibited here began with the idea of replacing vanishing natural materials with new, commonly available ‘natural’ materials.
In early 2020, during the pandemic, Bayuaji recruited two local assistants to help unravel and clean the harvested plastic ropes, turning them into ne, colourful threads. He then wove the threads into abstract artworks at a small traditional Balinese weaving workshop that was already economically fragile before the pandemic. The project has since expanded to include over 15 collaborators, not only supporting those affected by the pandemic but also educating people in Bali and beyond about environmental sustainability.
《華盛頓郵報》上關於中國抽紗產品的廣告，美國，1948
Advertisement for Chinese drawnwork products in The Washington Post, USA, 1948
「四個現代化」主題印染布
Four Modernisations-themed printed cloth
這是 1960 年代隨處可見的口號。中華人民共和國於1964年底到1965 年初召開的第三屆全國人民代表大會第一次會議中，提出「四個現代化」的目標，包括工業現代化、農業現代化、國防現代化和科學技術現代化。
This was a common slogan in 1960s China. In the Third National People’s Congress of the People’s Republic of China, held from late 1964 to early 1965, the goals known as the ‘Four Modernisations’ were announced, calling for modernisation of industry, agriculture, national defence, and science and technology.
一名員工與楊德麗修女（1896—1971）；楊修女於1924年創立工坊。後方可見通往閣樓的爬梯（複製品）
An employee with Sister Teresa Yeung (1896-1971), founder of the workshop in 1924. A ladder leading up to the attic is seen behind (reproduction)
一間珠繡工廠老闆的孩子在包裝好的貨品前，約1960年代（複製品）
Child of a beading factory owner in front of packaged goods, about 1960s (reproduction)
一間由女性管理及營運的珠繡毛衣廠，1966（複製品）5
A beaded sweater factory managed and staffed by women, 1966 (reproduction)5
一面祭壇桌布的角落設計，約 20世紀中
Design for an altar cloth corner, about mid 20th-century
乒乓球主題印染布
Table tennis-themed printed cloth
手藝人在報紙上了解到中美「乒乓外交」之後製作的圖案。1971年 4月，在日本名古屋舉行的第 31屆世界乒乓球錦標賽期間，美國乒乓球隊表達了希望訪問中國的意願，毛澤東和周恩來於是決策邀請美國乒乓球隊訪華。4月10日至17日，美國乒乓球代表團訪問中國，為後續的中美關係正常化奠定基礎。
Artisans created this design after learning about the Sino-American ‘ping-pong diplomacy’ from the newspaper. In April 1971, during the 31st World Table Tennis Championships held in Nagoya, Japan, the US table tennis team expressed a desire to visit China. Chairman Mao Zedong and premier Zhou Enlai then decided to invite the US team to China. From 10 to 17 April, the US table tennis delegation visited the country, laying the foundation for the normalisation of Sino-American relations.
五角星牡丹囍字印染布
Cloth printed with pentagram, peony and double happiness symbol
據手藝人口述，最早購買這塊囍字布的是一位退伍軍人，他在傳統囍字布的基礎上，特意要求製版師製作了帶五角星圖案的布。布上的兩朵紅花，代表着軍人退伍時胸前所戴的紅花。
According to the artisan, the first buyer of this fabric was a veteran who requested a special design featuring a pentagram. The two red flowers allude to the ones that veterans wear on their chests upon retiring.
亮布不僅應用於侗族，也流行於中國中東南地區的苗族、壯族、瑤族以及西南地區的布依族、水族。這些民族有些是同宗相續的血緣關係，有些則是異宗旁支的姻緣關係，交錯雜居中擴散了各自的文化元素。
Liangbu (glossy indigo fabric) is not only used by the Dong people but is also popular among the Miao, Zhuang and Yao ethnic groups in central eastern and southern China and the Bouyei and Sui peoples in southwest China. Among these groups, some share blood ties while others are connected through intermarriage, spreading and integrating different cultural elements as they coexist.
亮布女裝一套（包含配套胸兜），約1960 年。此套裝來自苗族與侗族混居的中國貴州黎平縣肇興鎮，這一身侗族服飾，偶爾苗族也穿。 衣服的主人目前 72 歲，以前約在16、17歲結婚。掛胸兜的帶子是侗族花帶。
Women’s clothing made from glossy indigo fabric (including a matching chest covering), about 1960. The outfit is from Zhaoxing, Liping county, Guizhou, where the Miao and Dong peoples coexist. This type of clothing is usually worn by Dong women, but Miao women also wear it occasionally. The owner of the outfit displayed was married at the age of 16 or 17 and is currently 72 years old. The strap on the chest covering is a traditional Dong embroidered band.
亮布是極具民族特色的傳統布料，其金屬光澤和紙質觸感構成侗、苗等民族服飾的符號系統，同時也是這些少數民族界定族群的重要標誌。
除了採棉、紡紗和織布的基本步驟之外，亮布的製作工序更包括「十染十漂十捶」、「兩浸」、「兩刷」、「兩蒸」和「加色」，而且在不同地區和族群有着明顯差異。
Liangbu (glossy indigo fabric) is a traditional fabric characteristic of several ethnic groups. Its metallic lustre and paper-like texture constitute the symbol systems of Dong and Miao clothing and are representative of the peoples’ cultural identities.
Apart from the basic steps of cotton harvesting, spinning and weaving, the making process of the glossy indigo fabric also includes dyeing, bleaching, pounding, dipping, brushing, steaming and colouring. The procedures may differ significantly between regions and ethnic groups.
目前亮布的名稱有不同的英文翻譯，CHAT六廠根據亮布的特點和製作工藝而採用 glossy indigo fabric。 其他常見的翻譯還包括 bright cloth、bright fabric 等。
There are various English translations of liangbu. CHAT has adopted ‘glossy indigo fabric’ based on the characteristics and production process of the textile. Other common translations include ‘bright cloth’ and ‘bright fabric’.
介紹生產抽紗產品的原材料及勞動力的潮汕地圖，1930（複製品）
Map on the circulation of materials and labour for drawnwork products in the Swatow region, 1930 (reproduction)
以香港時裝為題的《The Saturday Evening Post》雜誌內頁，美國，1964
Inner page of The Saturday Evening Post on Hong Kong fashion, USA, 1964
由Tarlan Amigh提供
Courtesy of Tarlan Amigh
作品由三個故事組成。開篇闡述侗族人從手工紡織到購買工業生產織物的轉變，這減輕了藉由傳統紡織工藝維繫文化認同所需的繁重勞動。在第二個故事中，韓夢雲反思所謂的「家庭清潔」並不關乎實際的衛生潔淨， 而是一種在父權機制中維護道德秩序的控制形式。最後一個故事回溯了她在 2020 年前往 印度齋浦爾的田野考察，在研究當地紡織業和木版印刷傳統的過程中，她質疑對手工藝的浪漫化，以及對其獨特性和真實性的過度推崇。在使用木刻版作畫時所體驗到的身體疼痛提醒着她，這種手工的美麗往往伴隨着風險與代價。
The work consists of three stories. The first story recounts a Dong woman’s shift from handmade to industrially produced fabrics, easing the labour once required to maintain cultural identity. The second narrative highlights domestic cleaning as a patriarchal mechanism of moral order rather than pure hygiene. The final story reflects on Han’s 2020 trip to research Jaipur’s textile industry, questioning the romanticisation of manual craft and the over-celebration of uniqueness and authenticity. The bodily pain she endures while woodblock printing underscores the tangible cost of artisanal beauty.
使用「lumered」技術製作的袋子，約1970年代
Bags made using ‘lumered’ technology, about 1970s
部分由南泱記提供
Partial courtesy of Nam Yang Kee
侗族亮布的創新品種。手織布以純植物染色，難以標準化生產，固色程度不同，水洗後亮度也會減退，並從平整狀態變為扭曲收縮，對現代設計應用來說是個挑戰。
Innovative variations of the Dong indigo fabric. It is difficult to produce standardised fabrics that are hand-woven and natural dyed. The colour fastness is hard to control;
washing also takes away the lustre and the smooth and firm surface texture of the fabric. These all pose challenges for modern designers.
侗族亮布，來自中國貴州宰蕩豐登村。手織平紋布，黝黑發亮，厚如紙張，手工打造錘紋明顯。
Glossy indigo fabric from Fengdeng Village, Zaidang, Guizhou province. About as thick as paper, the hand-woven Fabric features a metallic lustre on a dark ground and a pronounced hammered texture.
由紡織研究者邢振借出
Courtesy of textile researcher Xing Zhen
侗族亮布，來自中國貴州黎平縣肇興鎮，以工業紗線手工編織，並用工業染料染製。
Glossy indigo fabric from Zhaoxing, Liping county, Guizhou province. Hand-woven from industrial yarn and dyed with synthetic dyes.
傳統裙褂刺繡工坊，汕頭，約1980年代（複製品）
Traditional kwan kwa embroidery workshop, Swatow, about 1980s (reproduction)
由廣東名瑞提供
Courtesy of Guangdong Famory
刊登於香港報紙的出口管制報導，約1950年代初（複製品）
Hong Kong newspaper articles on the changing export regulations of embroidered products, about early 1950s (reproductions)
刷牛皮膠
BRUSHING GEL SOLUTION
將牛皮煮成膠質，在布面加上一層保護膜，固色，並令布變得堅挺。
Boil cowhide until the liquid is gelatine-like. Brush the gel solution onto the fabric to add a layer of protective film, fix the colour and firm the texture.
刷蛋白
BRUSHING EGG WHITES
一匹 24 米長的布需要準備約 30 個雞蛋白。先用棉布過篩，讓蛋白變得均勻。然後用一塊柔軟的布薄薄刷一遍，陰乾之後再刷第二遍，以此往復 10 至 16 遍。
For a fabric of about 24m long, sift about 30 egg whites through a cotton cloth to make them homogeneous. Using a soft cloth, brush the dyed fabric with the egg whites once, then brush a second time after drying and repeat for 10–16 times.
刺繡產品及其他手工藝品的郵購目錄，約1950至70年代
Mail order catalogues for embroidered goods and other handicrafts, about 1950s to 70s
由Tarlan Amigh提供
Courtesy of Tarlan Amigh
南京長江大橋主題印染布
Nanjing Yangtze River Bridge-themed printed cloth
南京長江大橋主題印染布
Nanjing Yangtze River Bridge-themed printed cloth
南京長江大橋建成於1968年，是第一座完全由中國人設計建造並基本採用國產材料的特大型雙層式鐵路公路兩用橋，在中國橋梁史上具有重要意義。手藝人在報紙上讀到南京長江大橋的建成而創作了這些圖案。
The Nanjing Yangtze River Bridge, completed in 1968, was the first large-scale double-deck bridge designed and built entirely by Chinese people using domestically produced materials. This marked a significant milestone in the history of Chinese bridge construction. Artisans created these fabric patterns after reading about the completion of the bridge in newspapers.
喜鵲苗男裝，來自中國貴州畢節市，約1940 年。在麻布上做亮布效果非常罕見。在喜鵲苗人婚後女方給男方製作的衣服中，有短款和長款各一套，長款是男方過世時穿後燒掉的，因此長款現存極少。
Magpie Miao men’s clothing from Bijie, Guizhou province, about 1940. Glossy indigo fabrics made from linen are rare. In Magpie Miao culture, after marriage, the wife would make two sets of clothing – long and short – for her husband. The longer pieces are traditionally burnt after the husband’s passing, making them extremely scarce today.
由紡織研究者邢振借出
Courtesy of textile researcher Xing Zhen
圖片提供：
1 威斯康新大學密爾沃基分校圖書館
美國地理學會圖書館
2 政府新聞處
3 瑪利諾修院學校基金有限公司
4 政府檔案處歷史檔案館
5 香港大學圖書館特藏部
Image courtesy:
1 American Geographical Society Library, University of Wisconsin-Milwaukee Libraries
2 Information Services Department
3 Maryknoll Convent School Foundation Limited
4 Public Records Office, Government Records Service
5 Special Collections, The University of Hong Kong Libraries
在汕頭、上海及山東生產的絲質抽紗衣服，約1970至80年代
Silk drawnwork garments produced in Swatow, Shanghai and Shantung, about 1970s to 80s
塑膠珠子和珠片貼章，約1960至70年代
Plastic beads and sequin patches, about 1960s to 70s
塑膠耳環和珠子樣本，1967-71
Plastic earrings and bead samples, 1967-71
由南泱記提供
Courtesy of Nam Yang Kee
壓路機主題印染布
Road roller-themed printed cloth
中華人民共和國於1960年自主生產了第一台壓路機。
The People’s Republic of China produced its first road roller in 1960.
天安門主題藍印花布
Blue calico with Tiananmen-themed pattern
隨着時代的演進，傳統的藍印花布圖案中加入了很多新的元素。 1949年10月1日，毛澤東在天安門城樓上宣告中華人民共和國成立, 這一事件使天安門成為了新中國的象徵。同時，火車、汽車等現代化建設的代表圖案也紛紛出現。
The repertoire of traditional blue calico patterns continued to expand. Tiananmen, where Mao Zedong declared the establishment of the People’s Republic of China on 1 October 1949, became a national symbol. Patterns representing modern infrastructure like trains and cars also emerged.
女孩製作出口至美國的珠繡毛衣，約1960年代（複製品）1
Girl beading a sweater for export to USA, about 1960s (reproduction)1
婦女和女孩們進行刺繡，柴灣，1956（複製品）5
Women and girls doing embroidery, Chai Wan, 1956 (reproduction)5
工坊員工生活照（複製品）
Daily lives of the workshop employees (reproduction)
帆船主題印染布
Sailing-themed printed cloth
1984年的洛杉磯奧運會，中華人民共和國第一次派代表團參加奧運帆船比賽。
The People’s Republic of China participated in Olympic sailing events for the first time at the 1984 Los Angeles Olympic Games.
帆船主題印染布
Sailing-themed printed cloth
1984年的洛杉磯奧運會，中華人民共和國第一次派代表團參加奧運帆船比賽。
The People’s Republic of China participated in Olympic sailing events for the first time at the 1984 Los Angeles Olympic Games.
從一件上衣的內側可見珠繡針步，約1980年代
The underside of a garment top reveals beadwork stitches, about 1980s
由歐陽偉航提供
Courtesy of Vincent Auyeung
愛心主題印染布
Heart-themed printed cloth
八九十年代，隨着改革開放的深入，中國年輕人的戀愛觀變得更加自由和開放。而國外一些講述年輕人愛情故事的電影和電視劇也開始進入中國，並深受年輕人的喜愛，讓他們逐漸發展出一種超越文化和國界的愛情理想。
In the 1980s and 1990s, as China’s reform and opening up progressed, Chinese youth became more open-minded about love. Foreign films and television dramas about young love began to enter China and gained immense popularity among young people, gradually cultivating a romantic ideal that transcended cultural and national boundaries.
抽紗產品目錄内頁，由中國工藝品進出口總公司出版，1979
Inner pages of a drawnwork catalogue published by the China National Arts & Crafts Import & Export Corporation, 1979
抽紗產品目錄封底圖片，由中國工藝品進出口總公司出版，1979（複製品）
Back cover image of a drawnwork catalogue published by the China National Arts & Crafts Import & Export Corporation, 1979 (reproduction)
抽紗設計草圖、設計轉印紙及桌布，汕頭，1965、1968及約1970年代
Drawnwork design sketch, transfer paper and table runner, Swatow, 1965, 1968 and about 1970s
由守繡家提供
Courtesy of Shouxiujia
抽紗麵包籃巾，汕頭，約1980代
Drawnwork breadbasket towel, Swatow, about 1980s
拖拉機主題印染布
Tractor-themed printed cloth
中華人民共和國於1958 年自主生產了第一台拖拉機，命名其為「東方紅號」，它被認為是中國農業機械化的起步。1960 年版一元人民幣的正面圖案，就是一位女技工駕駛「東方紅」拖拉機的場景。
In 1958, the People’s Republic of China produced its first tractor, ‘Dongfanghong’ (Oriental Red), marking the beginning of China’s agricultural mechanisation. The front design of the 1960 one yuan note depicts a woman operating the Dongfanghong tractor.
捶打
POUNDING
染布之後，用木槌反覆捶布，直到藍布表面呈現光澤。有時也會用輾壓的方式。
After dyeing, the fabric is beaten repeatedly with a wooden mallet until its surface becomes shiny. Sometimes the fabric is also pressed with a roller.
文革標語主題印染布
Revolutionary slogan-themed printed cloth
「最高指示」,是指在文革中以毛澤東的論述、意見和指示為最高思想。文革期間，不允許對最高指示有絲毫非議，報紙、信封等各種生活用品及其包裝上面都能找到「最高指示」的標識。
‘Supreme instructions’ refers to the writings, opinions and directives of Mao Zedong, who was considered the highest ideological authority, during the Cultural Revolution. In that period, any dissent regarding the supreme instructions was not tolerated. Reminders of these instructions could be found in newspapers, on envelopes, packaging and other everyday items.
施工圖主題印染布
Construction blueprint-themed printed cloth
八十年代是中國基礎設施建設的重要時期，各地石油、化工、電力、 交通等重大工程項目都開始進行。中國第一條高速公路——滬嘉高速公路亦在此時期建成。
The 1980s were a crucial period for infrastructure development in China, with major petroleum, chemical, electric power and transport projects underway across the country. During this time, China’s first expressway, the Shanghai-Jiading Expressway, was also completed.
施工圖主題印染布
Construction blueprint-themed printed cloth
八十年代是中國基礎設施建設的重要時期，各地石油、化工、電力、 交通等重大工程項目都開始進行。中國第一條高速公路——滬嘉高速公路亦在此時期建成。
The 1980s were a crucial period for infrastructure development in China, with major petroleum, chemical, electric power and transport projects underway across the country. During this time, China’s first expressway, the Shanghai-Jiading Expressway, was also completed.
時間主題印染布
Time-themed printed cloth
沙漏的圖案表示了時間的重要性，意在勸人要珍惜時間。中華人民共和國成立後，社會面臨一個經濟落後、社會矛盾尖銳、民生困苦的局面。中國政府採取了一系列措施促進生產，在各種宣傳中號召人們抓緊時間，投入社會主義建設。
The hourglass pattern signifies the importance of time and encourages people to cherish it. After the establishment of the People’s Republic of China, the country faced the challenges of economic backwardness, social conflicts and poor living conditions. The Chinese government implemented a series of measures to promote production and call on people to spend time efficiently on socialist construction.
晾曬
DRYING
日光下晾曬。
Dry under the sunlight.
有關抽紗品在香港的生產、流通及銷售的材料，約1930至40年代（部分為複製品）
Materials on the production, circulation and sales of drawnwork in Hong Kong, about 1930s to 40s (partial reproductions)
木槌，來自中國貴州台江縣施洞鎮。木槌相當沈重，可見製作亮布是體力的較量。
Wooden mallet from Shidong, Taijiang county, Guizhou province. The heavy
mallet hints at the physical effort required to produce the glossy indigo fabric.
李姑娘在其投資的紡紗廠，印尼，約1950年代（複製品）
Madame Lee at a spinning factory she invested in, Indonesia, about 1950s (reproductions)
李姑娘的Magnolia原創品牌和其他海外客戶的針織服裝與珠繡材料，約1980至1990年代
Knitwear and beads for Madame Lee’s own Magnolia brand and other overseas clients, about 1980s to 1990s
李姑娘設計和練習珠繡，2020年代（複製品）
Madame Lee designs and practises beading, 2020s (reproduction)
枕頭邊飾，1970 年代。混合了麥草、木片和棉花製成。這樣的日常用品往往由普通人自己製作而成，而非專業工匠。在沒有消費文化的時代，物品常常需要自製自用，從中可以看到人們對美感和創意自然而然的追求。
Pillow edge decoration, 1970s. Made from wheat straw, wood strips and cotton. Such everyday items were often made by ordinary people rather than professional craftsmen. In pre-consumerist society, people had to make various objects by hand for personal use. These objects reflect people’s natural pursuit of beauty and creativity.
由韓國稻草生活史博物館借出
Courtesy of the Korean Museum of Straw and Life
染
DYEING
種植、收穫藍草，製作藍缸，浸染。
Plant and harvest indigo plants, make a blue vat and immerse the fabric into the vat.
梭子，1950 年代。用於編織草線。
Shuttle, 1950s. Used for weaving straw threads.
圖片提供：韓國國家遺產廳
Image courtesy: Korea Heritage Service
棉紗商標
東南紡織有限公司
20世紀中
平版紙面印刷
CHAT六廠藏品（複製品）
Yarn labels
South Textiles Ltd
Mid 20th century
Lithograph on paper
Collection of CHAT (Reproduction)
棉質抽紗手帕，汕頭，約1970至80年代
Drawnwork handkerchiefs, cotton, Swatow, about 1970s to 80s
由守繡家提供
Courtesy of Shouxiujia
正在工作的李姑娘，約1960年代（複製品）
Madame Lee at work, about 1960s (reproductions)
母女二人進行刺繡，屏山，1962（複製品）5
Mother and daughter doing embroidery, Ping Shan, 1962 (reproduction)5
海棠紋水紋女士印染布襯衫
Women’s shirt with begonia and water patterns
準備裝上刺繡底布的捲軸框架，約20世紀中
Scroll frame ready to be mounted with an embroidery base cloth, about mid 20th-century
由瑪利諾修院學校基金有限公司提供
Courtesy of Maryknoll Convent School Foundation Limited
潮汕抽紗公司使用的進口布料樣本，約1970年代
Imported fabrics used for drawnwork by Chaoshan Drawn Thread Work Company, about 1970s
由守繡家提供
Courtesy of Shouxiujia
潮汕抽紗公司發布的抽紗成本規格，汕頭，約1970年代
Cost calculations for drawnwork products published by Chaoshan Drawn Thread Work Company, Swatow, about 1970
由守繡家提供
Courtesy of Shouxiujia
火炬與鐵路主題印染布
Torch and railway-themed printed cloth
為一名美國牧師製作的法衣目錄及尺寸表，1950
Cassock catalogue and measurement chart for an American reverend, 1950
為慶祝南豐紡織有限公司25週年刊登於各大報章的廣告。如右下角筒子紗包裝所示，可見棉紗商標的運用，1979，CHAT六廠藏品（複製品）
Advertisement celebrating the 25th anniversary of Nan Fung Textiles Ltd. A yarn label can be seen packaging the yarn cone on the lower right, 1979, collection of CHAT
(Reproduction)
煙花主題印染布
Firework-themed printed cloth
熊貓主題印染布
Panda-themed printed cloths
1975年，杭州野生動物園從北京迎來了大熊貓「迎迎」和「培培」， 成為杭州動物園養育的第一對大熊貓。手藝人從報紙上讀到新聞，於是創作了這些圖案。
In 1975, Hangzhou Safari Park welcomed its first pair of giant pandas, Yingying and Peipei, from Beijing. Artisans created these designs after reading the news.
燕子主題印染布
Swallow-themed printed cloth
在中國傳統文化中，燕子是吉祥的鳥類，代表好運、和睦與幸福。燕子的圖案常常搭配其他吉祥圖案，如柳絮、梅花、牡丹等。由於崇明島是棉花和棉紡織的重要產地，在該地區的印染布料裏，也會有燕子與棉花一起出現的圖案。
In traditional Chinese culture, swallows are auspicious birds representing good fortune, harmony and happiness. The swallow is often paired with other auspicious motifs, such as willow catkins, plum blossoms and peonies. The printed fabrics from Chongming Island, an area known for its cotton and cotton textile production, often feature designs that combine swallows and cotton.
牆面照片，拍攝於 1980 年代。照片上的草編屋頂和塑料布，讓我們看到一個處於轉型時期的韓國社會。在1980 年代，塑料製品被大量推廣到農村地區，快速取代了傳統的生活方式。
Photographs on walls, taken in the 1980s. The combination of straw roofs and plastic covers in the image reflects a transforming Korean society. In the 1980s, plastic products were widely promoted in rural areas, quickly replacing traditional household items.
圖片提供：韓國稻草生活史博物館
Image courtesy: Korean Museum of Straw and Life
珠片裙褂，約1970年代
Sequined kwan kwa, about 1970s
由鴻運繡莊提供
Courtesy of Lucky Embroidery
珠繡毛衣及抽紗品的郵購錄，約1950至70年代
Mail order catalogues for beaded
sweaters and drawnwork, about
1950s to 70s
部分由香港大學圖書館特藏部提供
Partial courtesy of Special Collections, The University of Hong Kong Libraries
珠繡毛衣生產過程，約1980年代（複製品）
Beaded knitwear production, about 1980s (reproductions)
珠繡產品、零售空間，及供香港遊客使用的旅遊手冊，約1960年代末
Beaded products, retail spaces and travel brochures for tourists in Hong Kong, about late 1960s
瑪利諾修女出品的「嘜頭」（徽標），約20世紀中
Woven label for products by the Maryknoll Sisters, about mid 20th-century
瑪利諾修女出版的郵購目錄内頁 ，1954（複製品）
Excerpt from a mail order catalogue published by the Maryknoll Sisters, 1954 (reproduction)
瑪利諾修女出版的郵購目錄封面，1954（複製品）
Cover of a mail order catalogue published by the Maryknoll Sisters, 1954 (reproduction)
由瑪利諾修院學校基金有限公司提供
Courtesy of Maryknoll Convent School Foundation Limited
瑪利諾修女刺繡工坊使用的材料，約20世紀中
Materials used by the embroidery workshop of the Maryknoll Sisters, about mid 20th-century
由瑪利諾修院學校基金有限公司提供
Courtesy of Maryknoll Convent School Foundation Limited
瑪利諾修女刺繡工坊使用的進口縫紉材料，約20世紀中
Imported sewing materials used by the embroidery workshop of the Maryknoll Sisters, about mid 20th-century
由瑪利諾修院學校基金有限公司提供
Courtesy of Maryknoll Convent School Foundation Limited
瑪利諾修女接收的國際訂貨單，1952-67
International order sheets for the Maryknoll Sisters’ products, 1952-67
由瑪利諾修院學校基金有限公司提供
Courtesy of Maryknoll Convent School Foundation Limited
瑪利諾修女於1924年創立的刺繡工坊，其後於1937年搬遷至瑪利諾修院内（複製品）3
Embroidery workshop established by the Maryknoll Sisters in 1924, which ater relocated to the Maryknoll Convent in 1937 (reproduction) 3
瑪利諾修女選用絲綢應對香港的潮濕天氣（複製品）
Maryknoll Sisters made use of fabrics like silk to combat the humidity of Hong Kong (reproduction)
複製品由李翠怡及周順超製作
Reproduction courtesy of Trinny Li and Zhou Shun Chao
用於描繪和轉印刺繡圖案的進口紙張，美國羅德島州，約20世紀中
Imported paper for tracing and transferring embroidery designs, Rhode Island, USA, about mid 20th-century
由John Galliano設計、李姑娘監製的Dior高級訂製刺繡禮服，1997
Embroidered couture dress designed by John Galliano for Dior under Madame Lee’s guidance, 1997
由韓國草編師Chung Kyung Lee
於近期製作
Recently made by the Korean straw
craftsman Chung Kyung Lee
發電站主題印染布
Power station-themed printed cloth
新安江水電站於1957年開工建設，1960年4月第一台機組發電，是中華人民共和國第一座自行設計、自製設備和自行施工的水電站。
The Xin’anjiang Hydropower Station, constructed from 1957 to 1960, was the first hydropower station designed, built and equipped entirely by the People’s Republic of China.
禁繩，1970 年代。稻草繩向左側纏繞，意味驅除不潔。以前的人會在屋子門前掛上禁繩，來阻擋不吉利的東西。
Geum jul rope, 1970s. The left-hand lay straw rope signifies the expulsion of impurities. In the past, people would hang these ropes in front of their houses to ward against evil spirits.
由韓國稻草生活史博物館借出
Courtesy of the Korean Museum of Straw and Life
福字囍字印染布
Cloth printed with fu and double happiness characters
除了福、囍這兩種吉祥文字紋以外，布面上還有牡丹、 盤長結等吉祥圖案。牡丹花在中國傳統文化中是富貴吉祥 的象徵，而盤長結連綿不斷的形狀，則象徵着永恆和生生不息。
This fabric features the Chinese characters fu (福 , blessing) and xi (囍 , double happiness), along with auspicious patterns such as peonies and the endless knot. In traditional Chinese culture, the peony symbolises wealth and good fortune while the endless knot represents eternity and perpetual vitality.
穿著珠子裙褂的新娘，約1970年代（複製品）
Bride wearing a beaded kwan kwa, about 1970s (reproduction)
由廣東名瑞提供
Courtesy of Guangdong Famory
紅色樣板戲主題印染布
Revolutionary opera-themed printed cloth
紅色樣板戲是中國文化大革命時期（1966–1976）被推崇的一批文藝作品，它們以戲劇、京劇、芭蕾舞劇、交響樂等形式呈現，內容主要圍繞中國革命歷史和現實社會主義建設，強調階級鬥爭和英雄主義，具有強烈的政治色彩。這些作品包括京劇《紅燈記》、《沙家浜》和芭蕾舞劇《紅色娘子軍》、《白毛女》等。在這批印染布的圖案中, 就有《白毛女》中的女主角喜兒的標誌性動作、《紅燈記》中的紅燈等代表性元素。
Revolutionary operas, or model operas, were a group of artistic works with strong political overtones and highly regarded in China during the Cultural Revolution (1966–1976). In the forms of theatre, Peking opera, ballet and symphonic performances, they primarily focus on the country’s revolutionary history and the construction of socialist society, emphasising class struggle and heroism. Notable works include the Peking operas The Red Lantern and Shajiabang as well as the ballets The Red Detachment of Women and The White-Haired Girl. The printed fabrics here feature iconic elements of model operas such as the signature move of Xi’er, the heroine of The White-Haired Girl, and the lanterns from The Red Lantern.
結合十字繡技術的抽紗設計草圖，汕頭，1967-68
Drawnwork design sketches incorporating cross-stitch, Swatow, 1967-68
由守繡家提供
Courtesy of Shouxiujia
結合貼布技術的抽紗設計草圖，汕頭1963
Drawnwork design sketches incorporating appliqué, Swatow, 1963
由守繡家提供
Courtesy of Shouxiujia
絲質及棉質抽紗刺繡手帕，汕頭，約1970至80年代
Drawnwork and embroidered handkerchiefs, silk and cotton, Swatow, about 1970s to 80s
由守繡家提供
Courtesy of Shouxiujia
繡有經典邊飾圖案的羊毛毛衣 ，約1960年代
Wool sweaters embroidered with classic border designs, about 1960s
美國女商人與其香港出口公司的工人1965（複製品）
American businesswoman with an employee of her export firm in Hong Kong, 1965 (reproduction)
考察船主題印染布
Survey ship-themed printed cloth
1976 年3 月，萬噸遠洋科學考察船「向陽紅五號」從廣州港秘密啟航，開赴南太平洋目標海域，是為中華人民共和國的第一次遠洋調查。
In March 1976, Xiang Yang Hong 05, an oceanographic research vessel with a displacement of 10,000 tonnes, secretly set sail for the South Pacific from Guangzhou Port, marking the first oceanic survey of the People’s Republic of China.
舊壽星圖絲網版
Old silk screen of the God of Longevity
花卉抽紗設計草圖及桌布，汕頭，1966-67及約1970年代
Floral drawnwork design sketches and table runner, Swatow, 1966-67 and about 1970s
由守繡家提供
Courtesy of Shouxiujia
苗族亮布，來自中國貴州黎平縣肇興鎮。這三塊亮布有着不同的顏色、厚薄與肌理。最右側的是一塊透薄的工業織平紋棉布，撕成窄條假裝為手織布，由機器壓出亮面。其正反兩面都是黑色，有理由猜測也是用上化學染料，來模仿高難度手織成的優質亮布。
Miao glossy indigo fabric from Zhaoxing, Liping county, Guizhou province. These three pieces differ in colour, thickness and texture. The rightmost piece is a thin, semi-translucent machine-woven cotton fabric, torn into narrow strips to mimic hand-woven fabric. It is probably chemically dyed and features a machine-pressed shiny finish, imitating high-quality hand-woven indigo fabric.
英文字母抽紗圖案設計草圖及手帕，汕頭，1968及約1970年代
Monogram drawnwork design sketches and handkerchief, Swatow, 1968 and about 1970s
由守繡家提供
Courtesy of Shouxiujia
草編的工序之一：給經線上漿。
One of the processes of straw weaving: applying sizing to warp threads.
圖片提供：韓國稻草生活史博物館
Image courtesy: Korean Museum of Straw and Life
草編體俑，1960 年代。用於避邪的人俑。在農曆正月十五的前一晚, 人們會將銅錢插入草俑中，然後將其扔在路邊。孩子們會拿走錢幣, 然後踢着草俑玩，這是一種「以厄驅厄」的傳統儀式。草編對於農業社會的人們來說, 絕不僅僅是實用之物，更是連接精神信仰與外部世界的紐帶。
Je ung straw figurine, 1960s. Used for warding off evil. On the night before the 15th day of the first lunar month, people would insert coins into straw dolls and then leave them by the roadside. Children would take the coins and kick the dolls as a ritual to drive away misfortune. For people in agrarian societies, straw weavings were not only utilitarian objects but also a link between spirituality and the outside world.
由韓國稻草生活史博物館借出
Courtesy of the Korean Museum of Straw and Life
草靴，1970 年代。
Straw boots, 1970s.
由韓國稻草生活史博物館借出
Courtesy of the Korean Museum of Straw and Life
草鞋，1970 年代。為韓國傳統葬禮上喪主所穿。
Straw shoes, 1970s. Worn by the chief mourner at a traditional Korean funeral.
由韓國稻草生活史博物館借出
Courtesy of the Korean Museum of Straw and Life
草鞋，1970 年代。用於泥地上穿着行走。
Straw shoes, 1970s. Used for walking on muddy ground.
由韓國稻草生活史博物館借出
Courtesy of the Korean Museum of Straw and Life
草鞋，1970 年代。這雙小巧的鞋子反映出當時韓國成年人的普遍身材。韓國1970年代之後的都市化、工業化使其經濟迅速發展，韓國人的生活環境、飲食結構也因此發生了劇烈的變化。
Straw shoes, 1970s. These small shoes illustrate the average body size of Korean adults at the time. The urbanisation and industrialisation of Korea from the 1970s led to rapid economic development, resulting in significant changes in the living environment and dietary structure of Koreans.
由韓國稻草生活史博物館借出
Courtesy of the Korean Museum of Straw and Life
萬字紋囍字印染布
Cloth printed with swastikas and double happiness symbol
紅雙喜是充滿吉祥寓意的民間圖案，尤見於婚嫁喜慶場合，配合重複的萬字紋線條，表示喜事綿綿不絕的意思。可以看到，民間手藝人對傳統萬字紋「卍」做了本地化的改變。
The auspicious red double happiness symbol is especially used for weddings. The repeated swastika pattern signifies continuous joy. Folk artisans have adapted and localised the traditional swastika ( 卍 ).
蒸布
STEAMING
將布匹放入桶型木蒸籠，蒸 15 分鐘左右。
Place the fabric in a wooden steamer and steam for about 15 minutes.
薩莉瑪.哈基姆、古納斯‧特科爾、嚴潤森受 CHAT 六廠與第16屆沙迦雙年展的共同委託，於2024年夏季前往印尼弗洛雷斯島駐留考察當地的紡織文化，之後創作的作品在CHAT六廠2025年春季展覽及第16屆沙迦雙年展上展出。本次項目由策展人阿莉亞·斯瓦斯帝嘉發起。
Salima Hakim, Güneş Terkol and Yim Yen Sum were co-commissioned by CHAT and Sharjah Biennial 16 to research the textile culture in Flores, Indonesia during a residency in summer 2024 and create artworks for CHAT’s spring 2025 exhibition and Sharjah Biennial 16. This project was initiated by curator Alia Swastika.
蝴蝶紋女士印染布襯衫
Women’s shirt with butterflies
西方傳教工作，包括向孤兒和村民教授抽紗，汕頭，1910至30年代（部分為複製品）
Missionary work and the instruction of drawnwork to orphans and villagers, Swatow, about 1910s to 30s (partial reproductions)
豐收圖藍印花布
Blue calico with harvest-themed pattern
豐收主題在中國的傳統藝術中佔有重要地位，它反映了中國農業社會的經濟基礎，也體現了人們對美好生活的追求和對自然的尊重。
The theme of abundance holds an important place in traditional Chinese art. It reflects the economic foundation of Chinese agricultural society as well as people’s pursuit of a better life and respect for nature.
豐收布
Harvest-themed cloths
麥穗主題印染布、蝸牛主題印染布、棉花主題印染布、豆莢主題印染布、稻穀與水花生主題印染布
including themes such as wheat sheaves, snails, cotton, bean pods, rice and alligator weed
1959 年至 1961 年期間，中國遭受了嚴重自然災害。中國當時的社會經濟政策，特別是「大躍進」運動和人民公社運動中的嚴重「左」 傾錯誤，導致了農業生產力下降，加劇了自然災害的影響，最終導致大饑荒。而在饑荒之後，終於迎來了農作物的豐收，手藝人為慶祝收成而創作了這一組圖案。
Between 1959 and 1961, China was plagued by natural disasters and agricultural deficiencies. At that time, China’s social and economic policies, in particular the severe leftist errors during the Great Leap Forward campaign and the People’s Commune movement, led to a decline in agricultural productivity, exacerbated the impact of natural disasters and resulted in the Great Famine. After the famine ended, artisans created these patterns to celebrate the bountiful harvest.
遵循祖傳工序，進行山神座騎獅子和土地公座騎老虎的製作。透過不同的技法，如紙塑、剪紙、摺紙、彩繪來層層推疊及裝飾，讓神靈與神獸展現不同姿態，意氣風發。
A recording of the creation of the mountain god’s lion mount and the earth god’s tiger mount. Traditional techniques such as paper moulding, cutting, folding and painting are employed to create different forms and depict the vivid characters of the deities and legendary animals.
由新興糊紙文化借出
Courtesy of the Hsin Hsin Paper Offering Store
遵循祖傳工序，進行山神座騎獅子和土地公座騎老虎的製作。透過不同的技法，如紙塑、剪紙、摺紙、彩繪來層層推疊及裝飾，讓神靈與神獸展現不同姿態，意氣風發。
A recording of the creation of the mountain god’s lion mount and the earth god’s tiger mount. Traditional techniques such as paper moulding, cutting, folding and painting are employed to create different forms and depict the vivid characters of the deities and legendary animals.
由新興糊紙文化借出
Courtesy of the Hsin Hsin Paper Offering Store
郵購目錄來自設於香港的汕頭抽紗商店有限公司，約1950至60年代
Mail order catalogue of the Hong Kong-based Swatow Drawnwork Company Ltd., about 1950s to 60s
閣樓内發現的物品及現場圖片（複製品）
Materials and images of the attic at the time of discovery
電視訊號主題印染布
Television signal-themed printed cloth
崇明島上越來越多家庭擁有電視機了，因此手藝人創作了此圖案。 八十年代是中國電視行業快速發展的時期。儘管大多是黑白電視，但它們已經成為城市家庭的常見物品，並且開始進入農村家庭。
More and more families owned a television set on Chongming Island, which inspired the creation of this pattern. The 1980s marked a period of rapid development in China’s television industry. Although mostly monochrome, televisions became commonplace in urban families and started to appear in rural homes.
香港公司委託的抽紗品訂單及設計草圖，汕頭，1959-65
Order sheets and design sketches of drawnwork commissioned by a Hong Kong company, Swatow, 1959-65
由守繡家提供
Courtesy of Shouxiujia
香港政府出版的《商業、工業、金融指南》内頁，1961（複製品）4
Inner pages of Directory of Commerce, Industry and Finance published by the Hong Kong government, 1961 (reproduction) 4
香港珠繡毛衣廣告，美國及加拿大，1962-65（複製品）
Advertisement for Hong Kong beaded sweaters, USA and Canada, 1962-65 (reproductions)
骰子主題印染布
Dice-themed printed cloth
隨着改革開放使各項政策慢慢變得寬鬆起來，民間賭博娛樂活動續漸增加，手藝人於是做了以骰子為主題的印染布。
As regulations became more relaxed under the reform and opening up policy, there was an increase in gambling activities, which inspired the creation of this dice-themed design.
龍鳳呈祥主題印染布
Dragon and phoenix-themed printed cloth
龍和鳳是中國傳統文化中的重要符號，代表着吉祥和尊貴。民間將龍鳳呈祥圖案廣泛應用於婚慶、節日裝飾和各種喜慶活動中,寓意着吉祥如意和好運連連。
In traditional Chinese culture, the dragon and phoenix are important symbols that represent prosperity and nobility. The two are often paired together in decorations for weddings, festivals and other celebratory occasions, symbolising good fortune and continuous blessings.