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宋緙絲萱蓉芝秀圖　軸

as a blessing for longevity. The weaving in this tapestry is compact and refined. Various “propping” color.....more

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鷺鷥芙蓉蓮荷萱花奇石雲國立故宮博物院石渠寶笈三編（乾清宮），第二冊，頁672&*國立故宮博物院緙絲，黑白圖版27&*緙絲特展圖錄，頁40-41、98&*素地設色織，荷塘一隅，岸邊聳立湖.....more

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nature. The weaving in this work is delicate and methods varied, including “comb propping” and “wrap.....more

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國立故宮博物院緙絲特展圖錄，頁38-39、97-98 &*本幅設色亮麗而典雅，經緯組織結構精密。緙工技藝穩健有力，運梭如運筆，極得孔雀神韻，孔雀羽毛燦爛絢麗，用金線摻以各種色線織成，將孔雀羽毛華麗.....more

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into the weaving, yielding a bright and glossy effect. As for technique, the "long and short propping.....more

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“propping” methods to bring out the twists and turns of the leaves and blossoms as they curve.....more

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. Using “long and short propping” weaving shuttles to create variations, the effect.....more

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奇石雉（錦雞．雉類）百合花蜀葵石榴白頭翁國立故宮博物院緙絲特展圖錄，頁42-43、98&*緙絲風華：宋代緙絲花鳥展圖錄，頁69-72&*國立故宮博物院緙絲，圖21&*淺藍地設色織。一對.....more

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petals were done in the “knotting” method of color propping, the layers of colors gradually fading.....more

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” and “join propping” weaving methods delicately portray the layers of color in a natural manner.....more

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as “join propping” expresses subtle variations to the layers of light and dark colors, thereby.....more

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boy propping him up. Two others stand in the garden, one urging the other to stay longer. Two more.....more

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). The technique in this work is skillful as the method of harmonizing colors known as “join propping.....more

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