故宮書畫錄(卷五),第三冊,頁108&*故宮書畫圖錄,第二冊,頁233-234&*1.王耀庭,〈宋趙大亨蓬萊仙會〉,收入王耀庭、童文娥編,《長生的世界:道教繪畫特展圖錄》(臺北:國立故宮博物院,1996年初版),頁80-81。 &*趙大亨(西元十二世紀),時人以其肥偉,號之為趟大漢,自恥其俗,因名大亨。為趙伯駒伯驌兄弟之皂隸,多獲遺稿,且諳其法,遂亦善畫。本幅寫蓬萊仙會,群仙徒騎而至,用筆細膩,描擬盡態。洞府之中,雲上作界畫樓臺,西王母在焉。方寸之中,直欄橫檻,棟宇軒櫺,無不雕金鏤翠,燦然俱備。石上有趙大亨三字款,疑係後加,依畫風當為明代。元代以後,慶壽劇流行,以西王母有蟠桃之壽,眾仙來祝,其中八仙尤不可缺,本幅即是。&*Chao Ta-heng was the servant of Chao Po-chü and Po-su, brothers in the imperial family known for painting. When the latter two died, their servant inherited their drafts and learned the art of painting. In this painting is depicted a meeting of immortals on their way to the P'eng-lai Isles--some walk while others ride. The brushwork is refined and extremely subtle, capturing all aspects of the immortals' activities and personalities. In this other-wordly realm is an exceptionally grand palatial residence, that of the Mother Goddess of the West, amongst the clouds. All manner of architectural detail has been depicted, including brackets, ramparts, porches and finials. Nothing is left out, for even the gilded sculptures and lacquered engraved-work are included. The artist's name appears on a rock, indicating it could be a later addition. In fact, the style appears to be Ming (1368-1644). After the Yüan (1279-1368), dramas celebrating longevity became popular, and depictions of festivals including the Mother Goddess of the West with the peaches of immortality appeared. Immortals are included to convey blessings, and, among them, the Eight Immortals are always found.