國立故宮博物院緙絲,圖版85&*刻織白地極樂世界圖。佛坐蓮臺,十大弟子,諸天圍繞,天女奏樂雨花,合掌迥向,具大莊嚴閣,八功德池,蓮花祗樹,身光雲彩,種種寶飾,無名款。詩塘刻織乾隆皇帝贊四體書,文不錄,款,「壬寅仲春月中澣,御讚」。此幅內容及風格與本院收藏清丁觀鵬畫極樂世界相同,當為摹刻該畫,而尺寸略小。丁觀鵬畫有年款為「乾隆二十四年二月」,此幅詩塘乾隆贊年款為「壬寅」,卽乾隆四十七年,此刻絲製作當為是年之後。其設色刻織部份僅為主要輪廓。人物面部、衣紋、建築等細膩部份皆為筆墨及色之添染。此幅經秘殿珠林石渠寶笈三編著錄;載在朱啟鈐刻絲書畫錄&*本幅刻織白地西方極樂世界,內容、風格和構圖皆與本院所藏「清丁觀鵬畫極樂世界圖」如出一轍,當為摹刻該畫之作。由於二軸的詩塘皆有乾隆壬寅年(即乾隆四十七年,西元一七八二年)的御題四體書,當知是年應為此幅緙絲年代的下限。 此作的主要輪廓與設色以刻織方法完成,但人物面部、衣紋、建築等較為精細的部分,則以筆墨和顏色添染。全作設色明麗,細節繁複,為乾隆時期的緙絲精品。 &*This tapestry depicts the world of the Buddhist paradise of the West. The contents, style, and composition are identical to that of a painting of the same title by Ting Kuan-p’eng in the Museum collection, this being a copy of it. Both hanging scrolls are mounted with an imperial inscription in four scripts dated to 1782, providing the lower limit of the date possible for this tapestry. The main outlines and colors here were done using silk tapestry techniques, but finer details of the faces and drapery lines for the figures and the architecture were done with brush and ink as well as washes of color. The entire work features opulent coloring and complex details, it being a masterpiece of Ch’ien-lung era (1736-1795) tapestry.