传统文化是民族智慧的结晶，在信息时代飞速发展的情况下，怎样才能让传统文化保持多样化，并实现可持续发展，这是人们一直以来都在探索的主题。秦绣代表着三秦文化中不可或缺的一部分，是该地区人民智慧的结晶。它以独特的艺术语言，通过刺绣的形式展示了三秦人民的生活方式、风俗习惯和地域风情。全球化的影响使得很多地方文化逐渐失去了独特的风貌，文化创意产品也呈现出同质化的趋势，这在一定程度上破坏了地方传统社会的文化记忆与身份认同。秦绣作为三秦文化的重要组成部分，同样难以避免现代文化的冲击。

本文立足于秦绣的传承与发展，着眼于秦绣艺术语言，对其特征进行多方位的分析。首先，本文通过对资料的收集和整理将秦绣艺术语汇分为：花卉植物纹样语汇、动物纹样语汇、人物纹样语汇以及文字性纹样语汇四大类；其次，秦绣艺术语言的语法是研究艺术语汇的排列和变化关系，分析了秦绣艺术语言语法中的构图规律，将它分对称均衡、自由构成以及条理反复形式，又按照秦绣的组织方式分为团饰、方饰两大类；最后，从视觉符号视角切入，总结了秦绣艺术语言的语义特点，并分析了自然因素、社会因素对秦绣艺术语言的语义影响，在此基础上将其分为五类：时令节日、图腾崇拜、信仰民俗、自然崇拜、宗教仪式。

最后，通过对秦绣艺术语言的基本解析，从中寻求秦绣传统纹样再创作和延伸，总结创意抽象衍生方法和思路，探索图形衍生设计和应用的有效性，使秦绣在图形呈现方面有其特有的艺术语言方式展示。同时，通过对秦绣艺术语言特征的解析，并结合文创产品的实际运用，对于促进我国传统手工艺的发展具有重要意义，也为现代设计提供新的思路，为我国传统文化与现代艺术的融合提供新的契机。

Traditional culture is the crystallization of national wisdom. In the rapidly developing information age, how to maintain the diversity of traditional culture and achieve sustainable development has been a theme that people have been exploring. Qin embroidery represents an indispensable part of the Three Qin culture and is the crystallization of the wisdom of the local people. Through the unique artistic language of embroidery, it showcases the lifestyle, customs, and regional characteristics of the people of Three Qin. The impact of globalization has led to the gradual loss of unique cultural features in many places, and cultural and creative products have also shown a trend towards homogenization, which to some extent undermines the cultural memory and identity of local traditional societies. As an important component of the Three Qin culture, Qin embroidery is also difficult to avoid the impact of modern culture. How to continue to inherit and promote the excellent culture of Qin embroidery while adapting it to the trend of social development is an urgent issue that needs to be discussed.

This article focuses on the inheritance and development of Qin embroidery, and analyzes its characteristics from multiple perspectives based on the artistic language of Qin embroidery. First of all, this article categorizes the artistic vocabulary of Qin embroidery into four categories: floral and plant patterns, animal patterns, human figure patterns, and textual patterns, through data collection and organization. Secondly, the grammar of Qin embroidery artistic language is the study of the organization and variation relationship of artistic vocabulary. The author analyzes the composition rules of Qin embroidery artistic language grammar and divides it into symmetrical balance, free composition, and orderly repetition forms. According to the organization method of Qin embroidery, it is divided into two categories: group decoration and square decoration. Thirdly, starting from the perspective of visual symbols, the author summarizes the characteristics of the semantic of Qin embroidery artistic language, analyzes the influence of natural and social factors on the semantics of Qin embroidery artistic language, and divides the artistic language semantics into five categories: seasonal festivals, totem worship, belief customs, natural worship, and religious rituals. A deep interpretation of semantics helps people to better understand the connotation of Qin embroidery artistic language.

Finally, through the basic analysis of Qin embroidery artistic language, this article seeks to find the re-creation and extension of traditional patterns in Qin embroidery, summarizes creative abstract derivation methods and ideas, explores the effectiveness of graphic derivative design and application, and enables Qin embroidery to exhibit its unique artistic language in graphic presentation. At the same time, through the analysis of the characteristics of Qin embroidery artistic language and the practical application of cultural and creative products, this article has important significance for promoting the development of traditional handicrafts in China and providing new ideas for modern design, providing a new opportunity for the integration of traditional Chinese culture and modern art.