石渠寶笈初編(養心殿),上冊,頁668&*國立故宮博物院緙絲,頁14&*此幅以嬌艷盛開的牡丹為主體,薔薇、菊花、芙蓉陪襯其間,花蕊繁複,枝葉交錯,色彩鮮麗明亮,畫面充實,極富裝飾效果。月季或稱為薔薇、長春花,與牡丹組合成寓意吉祥的「富貴長春」。 藍地五彩織,顏色深淺變化豐富,單瓣牡丹以紅絲線用「勾」法緙出邊線,花瓣伸展層次豐富,姿態婀娜,十分寫實,複瓣牡丹則運用「結」的戧色法,按退暈的色階層次,逐層減退,突顯立體。此作結合了繪畫概念、織工技術及吉祥意涵的作品,緙工精密純熟,為無上精品。 &*The main flowers in this work are peonies in gorgeous bloom with rose, chrysanthemum, and hibiscus blossoms playing supporting roles that fill the spaces. The riot of pistils and stamens compete with the crisscrossing leaves and branches. The colors are also bright and beautiful, making for a solid scene with a strong decorative effect. The China rose shown here is the periwinkle, which is also known as the “flower of everlasting spring.” Its combination with the peony, “king of flowers,” is a metaphor for “riches in an everlasting spring.” The multiple colors woven against a blue background are done in a rich variety of light and dark tones. The individual petals of the peonies have been rendered in the “connecting” tapestry method around the edges using red silk thread for highlighting. The petals spread out in a complex arrangement of layers for numerous poses in a realistic manner. The repeated peony petals were done in the “knotting” method of color propping, the layers of colors gradually fading with wash effects. The result is a volumetric yet decorative quality integrating elements of painting methods, weaving techniques, and auspicious content all into one. The mature skill here also makes this work of unparalleled quality. &*1.童文娥,〈緙絲富貴長春〉,收入童文娥主編,《緙絲風華 — 宋代緙絲花鳥展圖錄》(臺北:國立故宮博物院,2007年初版一刷),頁57。 2.童文娥,〈宋緙絲富貴長春〉,《故宮文物月刊》,第300期(2008年3月),頁47。