| 參考資料 |
【類別】 |
【參考資料】 |
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收藏著錄 |
刺繡特展圖錄，頁12-15、125
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收藏著錄 |
國立故宮博物院刺繡，彩色圖版1、頁10
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內容簡介（中文） |
繡線三星列坐，女仙歌舞。上有乾隆御題贊語二則。此幅人物鳥獸花木形式皆古拙。初以平針繡，次以單線作網狀壓繡面，再以粗金線於繡面盤出輪廓，人物衣飾多處以金線盤繡。人物面部以平針繡，用針方向未得面部自然狀，以墨點眉目。松樹枝幹繡得松皮之真實感。松針以簡單針法繡出象徵式之針葉。雲紋以金線盤繡，多處繡時未按原畫墨鈎線條，故可見未加繡線之墨筆線條。本幅繡法實不常見。圖經石渠寶笈珠林續編著錄；載在朱啟鈐刺繡書畫錄。
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網頁展示說明 |
三星即是福、祿、壽三仙，代表福氣、祿位與長壽的民俗神祇。由於三星的起源甚早，要推究其代表人物，可說眾說紛紜，莫衷一是，最受青睞的說法，便是從星宿的崇拜漸人神化後，發展出三位一體的信仰。
福星源於歲星，也就是木星，歲星照臨能降福於民；民間傳說周文王有百子之福，遂成福神的代表人物；亦有從道教的三官信仰研究溯源，認為天官賜福、地官赦罪、水官解厄，輾轉流傳之下，天官賜福的說法，深植人心成福神的代表，圖像常是一襲紅色朝服裝束，一派雍容華貴樣貌，其上蝙蝠飛舞，象徵福自天降。祿星一說是文昌宮第六顆專掌司祿之位的星宿，穿鑿附會後，便成主管職祿位的星官，祿星的代言人有五代的張仙，著束帶官袍戴高冠，旁有鹿、猴相伴，取其諧音，有加官進祿、馬上封侯意涵。壽星「數起角亢，列宿之長，故曰壽。」又稱為南極老人、南極仙翁，是最民間喜愛，也是辨識度最高的星官，他身形矮胖、一手拄杖，頭大額突、長眉善目、白鬚過腰，笑容可掬，模樣相當逗趣，身旁跟隨著丹頂鶴及仙桃，意寓長壽。
三星圖像多出現在民間的年畫或版畫中，進入宮廷收藏者，屈指可數，〈明陳洪綬三星圖〉構圖簡單，線條流暢，福、祿、壽三星為文人打扮，除壽星持靈芝、拐杖較容易辨識外，福星、祿星裝扮與文人一般，三人顧盼相談；〈明商喜福祿壽〉侍者捧壽桃，伴隨著仙鹿與蝙蝠，隱含祿位及福氣，為明清時多採用的圖式；緙繡作品多以祝壽為題，如〈無名氏繡三星圖〉、〈緙絲御製三星圖頌並恭繪圖〉，構圖常是三星在松柏樹下相會，三星特徵明顯，福星著紅袍官服，如意、牡丹表富貴福氣；祿星常抱著孩童，有張仙送子、五子登科之意；壽星手捧仙桃，孩童環繞，有的持靈芝、戟、或磬，或拿牡丹、寶瓶，都有吉慶、富貴與平安等吉祥意涵，圖像具固定樣式。〈五代繡三星圖〉福、祿、壽三星列置，樂伎歌舞，繁花若雨，是「三星圖」構圖特例。繡法精緻，用色典雅富麗，可為五代繡品代表作，除此之外，如此大幅的作品，更屬難得而珍貴。
(20110711)
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網頁展示說明 |
The Three Star Gods refer to the three immortals of happiness, prosperity, and longevity, popular deities representing common aspirations of the people. Since the origins of these gods are quite ancient, any attempt to determine a definitive source for them inevitably meets with widely divergent opinions. Regardless of which one is correct, the explanation finding most favor says that after the worship of star constellations in ancient China gradually personified them in the form of deities, a popular belief in this trinity developed.
The Star God of Happiness originated with the New Year Star, which is actually Jupiter and believed to bring fortune to people. In popular legend, King Wen of the Zhou enjoyed the happiness of a hundred children, gradually making him the representative figure for this deity. The God of Happiness can also be traced to the Three Officials of Taoism, in which the Official of the Heavens brings fortune, the Official of the Earth pardons offenses, and the Official of the Waters relieves hardship. As this belief passed down through the ages, the idea that the Official of the Heavens could bestow fortune emerged as the most popular among people. As a result, this official became the object of worship as a god of happiness. Popular images of the Official of the Heavens often show him wearing red robes in an elegant and poised manner. Above is an image of a bat, the homonym for fortune signifying its descent from the Heavens. As for the God of Prosperity, a saying identifies him as the sixth star in the celestial Wenchang Palace and specifically in charge of rank and position. After some forced explanation, he becomes the chief star official of prosperity. The spokesperson for the Star God of Prosperity emerged as Immortal Zhang of the Five Dynasties period, shown wearing an official's robe and crown with a deer and monkey by his side. (E1--20110711)
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網頁展示說明 |
Both these animals are homonyms in Chinese for advancing in position and promotion, or even receiving immediate ennoblement. The Star God of Longevity is known as such for being the eldest of the constellations. Also called the Elder of the Far South and Elder Immortal of the Far South, he is a favorite among the people and one of the most easily recognized. Short and plump, he leans on a staff with a large head and protruding forehead. He has long eyebrows and a gentle countenance, his white facial hair hanging down to the waist. Smiling and cupping his hands, he has an amusing appearance and is often accompanied by the red-crowned crane and peach of immortality, both of which stand for longevity.
The Three Star Gods are major figures of belief among people in pursuit of prosperity, happiness, and longevity. Their images often appear in New Year's folk paintings and prints, but such works entering the imperial collection are extremely few. The simple composition of Chen Hongshou's "The Three Star Gods" from the Ming dynasty, for example, features flowing lines and the Star Gods of Prosperity, Happiness, and Longevity as literati. Besides the God of Longevity holding spirit fungus and his easily recognized staff, the Gods of Happiness and Prosperity appear like scholars, the three looking and talking to each other. "Happiness, Prosperity, and Longevity" by the Ming painter Shang Xi shows an attendant offering longevity peach accompanied by the deer of immortality and bat of prosperity. Suggesting prosperity and happiness, it shows another way that this subject appeared in the Ming and Qing dynasties. Most such tapestries and embroideries focus on the blessing for longevity, such as the anonymous embroidery of "The Three Star Gods" and an imperial tapestry of "The Three Star Gods with Painting." The compositions of such works often show the three gods in a gathering below a pine tree, the characteristics of the three quite obvious. (E2--20110711)
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網頁展示說明 |
The God of Happiness wears a red official's robe and is accompanied by a "grant-wishing" tablet and the peony, symbolizing nobility. The God of Prosperity is frequently shown holding a child, symbolizing "Immortal Zhang Sending Children" and "Five Sons Achieving Success." The God of Longevity has the peach of immortality and is surrounded by children, holding a spirit fungus or cistern and chime with other symbols of prosperity, such as the peony and treasure vase, which all have the connotation of auspiciousness, nobility, and peace, the imagery having become formalized by this time. The arrangement of the three gods in theFive Dynasties embroidery of "The Three Star Gods" along with music and dancing as well as raining blossoms are all its features. The embroidery methods here are also refined and the coloring classically elegant and richly beautiful, making it representative of Five Dynasties embroidery. Furthermore, such a large work makes this example even more rare and precious.(E3--20110711)
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網頁展示說明 |
三星とは「福、祿、寿」三人の仙人を指します。それぞれ福と祿、長寿を象徵する神で、広く民間で信仰されています。三星の起源は非常に古く、その人物像については諸說ありますが、その中で最も信憑性の高いのが、星宿（星座）に対する崇拜の念が徐々に神格化され、三位一体の信仰に発展したというものです。
福星は歳星を起源とします。歳星とは木星を指し、人々に福をもたらす星だとされています。民間の伝說によると周文王には「百子の福」があり、次第に福の神を象徵する人物になりました。このほか、道教の三官信仰を遡ると、天官は福を授け、地官は罪を赦し、水官は厄を解くとされていることから、それらが流伝する中で、「天官が福を授ける」という說が福の神の象徵として人々の心に深く刻まれたという說もあります。その図像の多くが赤い朝服（宮廷に出仕する時に著用した衣服）に身を包んだ、福々しく穩やかな様子に描かれ、頭上に舞い飛ぶコウモリが天からもたらされる福を象徵しています。祿星は、一說には文昌宮（星座）の第六星「司祿星」だと言われ、それが様々に腳色されて職位や俸祿を意味する星の神になったとされています。祿星を象徵する人物は五代の張仙で、正式な朝服に高い帽子をかぶり、傍らに鹿と猿を從えています。これは語呂合わせで「鹿」は「出世と昇給」を、「猿」は「馬上封侯」（間もなく侯に封ぜられる）を意味しています。寿星は、「角宿と亢宿は各宿の長であるから寿と言われる。」とされ、南極老人や南極仙翁とも言われて民間で最も親しまれています。(J1--20110711)
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網頁展示說明 |
非常に識別しやすい星座でもあります。寿星は背が低くふくよかで、手に杖を持ち、大きな頭と突き出た額、長い眉と優しげな眼差し、白いヒゲと曲がった腰、滿面の笑顏─その様子はとてもユーモラスです。傍らには長寿を象徵する仙桃と丹頂鶴の姿があります。
三星図の多くは民間の年畫や版畫に登場します。宮廷に収蔵された作品は指折り數えるほどしかありません。「明陳洪綬三星図」は簡素な構図に流れるような線、福、祿、寿の三星が文人に扮しています。寿星が靈芝と杖を手にしているのはわかりますが、福星と祿星の扮裝は普通の文人と変わりなく、三人で語り合っています。「明商喜福祿寿」では、寿桃を奉げ持つ侍者、仙鹿とコウモリを從えています。これは俸祿と官位、福を暗に示しており、明清代の作品に多く見られる構成です。緙繡作品の多くは長寿の祝いを主題としています。例えば、「無名氏繡三星図」、「緙絲御製三星図頌並恭絵図」のように、三星が松と柏の木の下に会する構図が多く、三星の特徵は明らかで、福星は赤い官服を身に付け、如意と牡丹が富貴や福を表しています。祿星はたいてい子供を抱いており、「張仙送子」（張仙は子供を守る神）、「五子登科」（五人の子が試験に合格、子供が皆成功する）を意味しています。(J2--20110711)
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網頁展示說明 |
寿星は手に仙桃を持ち、子供に囲まれています。子供たちは靈芝や戟（兵器）、磬（楽器）、牡丹、寶瓶を手にしています。いずれもめでたさや富貴、平安などを表す吉祥の意が込められており、図像の様式は固定化されたものです。「五代繡三星図」に見られる福、祿、寿三星の配置、音楽を奏で舞い踊る仙女、雨の如く降り注ぐ花々などは、「三星図」の構図としては特殊なものです。精緻な刺繡技法、華やかで麗しく典雅な色遣いなど、五代の刺繡作品を代表する作品だと言えます。また、これほど大型の作品は非常に珍しく貴重なものです。(J3--20110711)
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參考書目 |
1.童文娥，〈五代繡三星圖〉，《故宮文物月刊》，第340期（2011年7月），頁98-107。
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