刺繡特展圖錄,頁62-65、131 &*國立故宮博物院緙絲,彩色圖版51-52&* In this embroidery, the Taoist Queen Mother of the West with the fungus of immortality rides a descending phoenix being greeted by a group of immortal ladies. No seal or signature to identify the artist(s) appears here. This work is actually part-embroidered, part-painted. The figures’ hair, for example, was done in ink and then adorned with black strands of embroidered silk. The lines of the clouds, waterside, and waves were embroidered, with washes of color brushed on. Washes were also added to the pine trunks and deer after embroidery to complete them. The clothing decoration is in fine embroidery. The style of painting, embroidery, and rich coloring suggest that this is a work of Ku Embroidery of the Ch’ien-lung reign (1736-1795). &*五色繡西王母持仙芝乘彩鳳降,眾仙女迎駕。無名款。此幅半繪半繡,如人物髮部先以墨畫,後以黑絲線略為加繡;雲紋、水岸及波濤僅繡線條,再加筆染色。松幹鹿身,則是繡後加點染而成。衣著裙飾部份皆精繡其花紋。通幅設色明麗,觀其畫風、繡工及設色為乾隆期的顧繡。 &*繡西王母持仙芝乘彩鳳降,眾仙女迎駕。此幅大部份皆平繡,用線皆粗鬆。人物髮部皆先以墨畫,後以黑絲線略繡以表示之。人物衣著凡有裙飾部份皆精繡其花紋;船中站立女子腰間有白梅之飾,先以墨繪染,後加線繡出,別具匠心。船前所坐女子披肩為繡後加墨皴染。又雲紋、波岸及水波皆僅繡線條,後加筆染色。松針部份為著色後加繡,松幹及梅花鹿,皆繡後加點染而成。通幅設色明麗,觀其畫風、繡工及設色畫為乾隆期之顧繡。載在朱啟鈐刺繡書畫錄。