扎染制作工藝與方法

1、扎染制作工藝與方法扎染制作工藝 扎染是中國一種古老的防染工藝。它先將織物進行捆扎然后進行染色，在染色過程中被捆扎的織物受到輕重、松緊不同的壓力，被色漿浸滲的程度也不同，因此產(chǎn)生深淺虛實、變化多端的色暈，染成的圖案紋樣神奇多變，色澤鮮艷明快，圖案簡潔質(zhì)樸，且有令人驚嘆的藝術(shù)魅力。在云南這塊素以“植物王國”著稱的地方，采用板蘭根等天然染色劑制做的各種扎染制品，對皮膚無任何傷害，顏色樸素、自然、優(yōu)雅大方，圖案簡潔明快，集藝術(shù)欣賞與實用價值為一體。工藝程序染前處理-捆扎布料-浸水-染色-沖洗晾干-熨平完成制做扎染一般需三個步驟：染前處理，捆扎染色，染后處理染前處理為保證扎染制作過程中染色均勻，需對織物

2、進行染前處理。因為織物上常帶有漿料、助劑及一定成份的天然雜質(zhì)。染前處理有：退漿：目的是除支漿料，可用堿液、氧化劑或淀粉酶等藥劑加水沸煮布料退漿。用量：藥劑為布重的3%，水為布重的30倍左右。精煉：目的是除去纖維上的天然雜質(zhì)及殘留漿料，右用燒堿加水沸煮。用量：燒堿為布重的3%，水為布重的30倍左右。漂白：用于除去色素及殘留雜質(zhì)，常用次氯酸鈉或氧化氫加水沸煮。用量：漂白劑為布重的3%，水為布重的30倍左右。另外，絲綢的染前處理是用皂液加碳酸鈉加水煮精煉。熨平待用：用電熨斗將漂洗過的布熨平以備描繪圖案及捆扎用。捆扎染色將已設(shè)計好的圖案紋樣用畫粉在布上做記號或用繪稿液描上，然后捆扎或縫結(jié)布料。完成后浸

3、入水中濕透，取出稍晾，待不滴水后放入已備好的染液中或浸染或煮染一定時間，然后用清水沖洗、晾干。染后處理晾后的捆所物可在不完全干透時解開扎結(jié)處，并用熨斗趁潮濕熨平整，完成。 白族扎染的制作 扎染時用的染缸，里面是板藍根。扎染的制作方法別具一格，舊籍曾生動描述了古人制作扎染的工藝過程：“擷撮采線結(jié)之，而后染色。即染，則解其結(jié)，凡結(jié)處皆原色，余則入染矣，其色斑斕?！敝谱鲿r，根據(jù)作者喜歡的花樣紋式，用線將白布縛著，做成一定襞折的小紋，再行浸入染缸里浸染。如此反復，每浸一次色深一層，即“青出于藍”。浸染到一定的程度后，取出晾干，拆去纈結(jié)，便出現(xiàn)藍底白花的圖案花紋來。這些圖案多以圓點、不規(guī)則圖形以及其他簡

4、單的幾何圖形組成。構(gòu)圖嚴謹，布局豐滿，多為二方或四方連續(xù)紋樣。扎染取材廣泛，常以當?shù)氐纳酱L物作為創(chuàng)作素材，其圖案或蒼山彩云，或洱海浪花，或塔蔭蝶影，或神話傳說，或民族風情，或花鳥魚蟲，妙趣天成，千姿百態(tài)。在浸染過程中，由于花紋的邊界受到藍靛溶液的浸潤，圖案產(chǎn)生自然暈紋，青里帶翠，凝重素雅，薄如煙霧，輕若蟬翅，似夢似幻，若隱若現(xiàn)，韻味別致。扎染的制作方法 扎染一般以棉白布或棉麻混紡白布為原料，主要染料來自蒼山上生長的寥藍、板藍根、艾蒿等天然植物的藍靛溶液，尤其是板藍根。以前用來染布的板藍根都是山上野生的，屬多年生草本，開粉色小花，后來用量大了，染布的人家就在山上自己種植，好的可長到半人高，每年

5、三四月間收割下來，先將之泡出水，注到木制的大染缸里，摻一些石灰或工業(yè)堿，就可以用來染布。扎染的制作方法別具一格，舊籍生動地描述了古人制作扎染的工藝過程：擷撮采線結(jié)之，而后染色。即染，則解其結(jié)，凡結(jié)處皆原色，余則入染矣，其色斑斕。扎染的主要步驟有畫刷圖案、絞扎、浸泡、染布、蒸煮、曬干、拆線、漂洗、碾布等，其中主要有扎花、浸染兩道工序，技術(shù)關(guān)鍵是絞扎手法和染色技藝。染缸、染棒、曬架、石碾等是扎染的主要工具。1、扎花扎花，原名扎疙瘩，即在布料選好后，按花紋圖案要求，在布料上分別使用撮皺、折疊、翻卷、擠揪等方法，使之成為一定形狀，然后用針線一針一針地縫合或纏扎，將其扎緊縫嚴，讓布料變成一串串疙瘩。扎染

6、用的布料過去完全采用白族自家手工織的較粗的白棉土布，現(xiàn)在土布已較少，主要用工業(yè)機織生白布、包裝布等布料，吸水性強，質(zhì)地柔軟。先由民間美術(shù)設(shè)計人員根據(jù)民間傳統(tǒng)和市場的需要，加上自己一定的創(chuàng)作，畫出各式各樣的圖案，由印工用刺了洞的蠟紙在生白布上印下設(shè)計好的圖案，再由婦女將布領(lǐng)去，用細致的手工按圖案縫上，再送到扎染廠或各家染坊。扎花是以縫為主、縫扎結(jié)合的手工扎花方法，具有表現(xiàn)范圍廣泛、刻畫細膩、變幻無窮的特點。2、浸染浸染，即將扎好疙瘩的布料先用清水浸泡一下，再放入染缸里，或浸泡冷染，或加溫煮熱染，經(jīng)一定時間后撈出晾干，然后再將布料放入染缸浸染。如此反復浸染，每浸一次色深一層，即青出于藍?？p了線的部

7、分，因染料浸染不到，自然成了好看的花紋圖案，又因為人們在縫扎時針腳不一、染料浸染的程度不一，帶有一定的隨意性，染出的成品很少一模一樣，其藝術(shù)意味也就多了一些。浸染到一定的程度后，最后撈出放入清水將多余的染料漂除，晾干后拆去纈結(jié)，將疙瘩挑開，熨平整，被線扎纏縫合的部分末受色，呈現(xiàn)出空心狀的白布色，便是花；其余部分成深藍色，即是地，便出現(xiàn)藍底白花的圖案花紋來，至此，一塊漂亮的扎染布就完成了。花和地之間往往還呈現(xiàn)出一定的過渡性漸變的效果，多冰裂紋，自然天成，生動活潑，克服了畫面、圖案的呆板，使得花色更顯豐富自然。浸染采用手工反復浸染工藝，形成以花形為中心，變幻玄妙的多層次暈紋，凝重素雅，古樸雅致。扎

8、染取材廣泛，常以當?shù)氐纳酱L物作為創(chuàng)作素材，其圖案或蒼山彩云，或洱海浪花，或塔蔭蝶影，或神話傳說，或民族風情，或花鳥魚蟲，妙趣天成，千姿百態(tài)。在浸染過程中，由于花紋的邊界受到藍靛溶液的浸潤，圖案產(chǎn)生自然暈紋，青里帶翠，凝重素雅，薄如煙霧，輕若蟬翅，似夢似幻，若隱若現(xiàn)，韻味別致。有一種回歸自然的拙趣。近年來，大理喜洲白族婦女在圖案藝術(shù)、古代結(jié)扎技法和現(xiàn)代印染工藝相結(jié)合的基礎(chǔ)上，推陳出新，發(fā)展了彩色扎染這種新的手工印染技術(shù)。彩色扎染突破了傳統(tǒng)單色扎染色調(diào)的局限，強調(diào)多色的配合和色彩的統(tǒng)一。利用扎縫時寬、窄、松、緊、疏、密的差異，造成染色的深淺不一，形成不同紋樣的藝術(shù)效果。特別值得一提的是，在一些白

9、族地區(qū)，一種稱為反樸法仿扎染的工藝制品正應(yīng)運而生。反樸法仿扎染是在古代扎染基礎(chǔ)上發(fā)展起來的像扎染而非扎染，像潑畫而非潑畫，圖案花紋兼有扎染與潑畫之風格的新工藝。其特點是在扎染工藝上省去了扎結(jié)這一工序，圖案花紋色暈層次更為豐富，呈現(xiàn)出錯雜融渾、斑斕厚重的色彩效果。彩色扎染和反樸法仿扎染具有同曲異工之妙，能產(chǎn)生朦朧流動的風格和回歸自然的美，更好地表現(xiàn)物像，增添藝術(shù)魅力。隨著市場需求的擴大，扎染的圖案也越來越復雜和多樣化，起碼有數(shù)百種之多，而且各種尺寸大小都有，衍生出扎染包、扎染帽、扎染衣裙等琳瑯滿目的工藝品。 hn3xtkknbycudxqa7fhyi2chhi92tgkqcwa3ptgshls5

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