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鑑藏宝玺：太上皇帝之宝题跋资料:
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主要主题：佛道人物 三星；其他主题：树木松 ；其他主题：山水云 ；其他主题：树木 ；其他主题：翎毛鹤 ；其他主题：走兽鹿 ；次要主题：佛道人物伎乐 ；其他主题：器用乐器 ；其他主题：走兽猴 ；其他主题：器用华盖 ；其他主题：走兽 麒麟技法:
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收藏着录： 刺绣特展图录，页12-15、125 收藏着录： 国立故宫博物院刺绣，彩色图版1、页10 参考书目： 1.童文娥，〈五代绣三星图〉，《故宫文物月刊》，第340期（2011年7月），页98-107。 内容简介（中文）： 绣线三星列坐，女仙歌舞。上有乾隆御题赞语二则。此幅人物鸟兽花木形式皆古拙。初以平针绣，次以单线作网状压绣面，再以粗金线于绣面盘出轮廓，人物衣饰多处以金线盘绣。人物面部以平针绣，用针方向未得面部自然状，以墨点眉目。松树枝干绣得松皮之真实感。松针以简单针法绣出象征式之针叶。云纹以金线盘绣，多处绣时未按原画墨钩线条，故可见未加绣线之墨笔线条。本幅绣法实不常见。图经石渠宝笈珠林续编着录；载在朱启钤刺绣书画录。 网页展示说明 三星即是福、禄、寿三仙，代表福气、禄位与长寿的民俗神祇。由于三星的起源甚早，要推究其代表人物，可说众说纷纭，莫衷一是，最受青睐的说法，便是从星宿的崇拜渐人神化后，发展出三位一体的信仰。福星源于岁星，也就是木星，岁星照临能降福于民；民间传说周文王有百子之福，遂成福神的代表人物；亦有从道教的三官信仰研究溯源，认为天官赐福、地官赦罪、水官解厄，辗转流传之下，天官赐福的说法，深植人心成福神的代表，图像常是一袭红色朝服装束，一派雍容华贵样貌，其上蝙蝠飞舞，象征福自天降。禄星一说是文昌宫第六颗专掌司禄之位的星宿，穿凿附会后，便成主管职禄位的星官，禄星的代言人有五代的张仙，着束带官袍戴高冠，旁有鹿、猴相伴，取其谐音，有加官进禄、马上封侯意涵。寿星「数起角亢，列宿之长，故曰寿。」又称为南极老人、南极仙翁，是最民间喜爱，也是辨识度最高的星官，他身形矮胖、一手拄杖，头大额突、长眉善目、白须过腰，笑容可掬，模样相当逗趣，身旁跟随着丹顶鹤及仙桃，意寓长寿。三星图像多出现在民间的年画或版画中，进入宫廷收藏者，屈指可数，〈明陈洪绶三星图〉构图简单，线条流畅，福、禄、寿三星为文人打扮，除寿星持灵芝、拐杖较容易辨识外，福星、禄星装扮与文人一般，三人顾盼相谈；〈明商喜福禄寿〉侍者捧寿桃，伴随着仙鹿与蝙蝠，隐含禄位及福气，为明清时多采用的图式；缂绣作品多以祝寿为题，如〈无名氏绣三星图〉、〈缂丝御制三星图颂并恭绘图〉，构图常是三星在松柏树下相会，三星特征明显，福星着红袍官服，如意、牡丹表富贵福气；禄星常抱着孩童，有张仙送子、五子登科之意；寿星手捧仙桃，孩童环绕，有的持灵芝、戟、或磬，或拿牡丹、宝瓶，都有吉庆、富贵与平安等吉祥意涵，图像具固定样式。〈五代绣三星图〉福、禄、寿三星列置，乐伎歌舞，繁花若雨，是「三星图」构图特例。绣法精致，用色典雅富丽，可为五代绣品代表作，除此之外，如此大幅的作品，更属难得而珍贵。(20110711) 网页展示说明 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) 网页展示说明 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) 网页展示说明 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) 网页展示说明 三星とは「福、禄、寿」三人の仙人を指します。それぞれ福と禄、长寿を象徴する神で、広く民间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诸说ありますが、その中で最も信凭性の高いのが、星宿（星座）に対する崇拝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。民间の伝说によると周文王には「百子の福」があり、次第に福の神を象徴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」という说が福の神の象徴として人々の心に深く刻まれたという说もあります。その図像の多くが赤い朝服（宫廷に出仕する时に着用した衣服）に身を包んだ、福々しく穏やかな様子に描かれ、头上に舞い飞ぶコウモリが天からもたらされる福を象徴しています。禄星は、一说には文昌宫（星座）の第六星「司禄星」だと言われ、それが様々に脚色されて职位や俸禄を意味する星の神になったとされています。禄星を象徴する人物は五代の张仙で、正式な朝服に高い帽子をかぶり、傍らに鹿と猿を従えています。これは语吕合わせで「鹿」は「出世と昇给」を、「猿」は「马上封侯」（间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长であるから寿と言われる。」とされ、南极老人や南极仙翁とも言われて民间で最も亲しまれています。(J1--20110711) 网页展示说明 非常に识别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、大きな头と突き出た额、长い眉と优しげな眼差し、白いヒゲと曲がった腰、満面の笑颜─その様子はとてもユーモラスです。傍らには长寿を象徴する仙桃と丹顶鹤の姿があります。三星図の多くは民间の年画や版画に登场します。宫廷に収蔵された作品は指折り数えるほどしかありません。「明陈洪绶三星図」は简素な构図に流れるような线、福、禄、寿の三星が文人に扮しています。寿星が霊芝と杖を手にしているのはわかりますが、福星と禄星の扮装は普通の文人と変わりなく、三人で语り合っています。「明商喜福禄寿」では、寿桃を奉げ持つ侍者、仙鹿とコウモリを従えています。これは俸禄と官位、福を暗に示しており、明清代の作品に多く见られる构成です。缂绣作品の多くは长寿の祝いを主题としています。例えば、「无名氏绣三星図」、「缂丝御制三星図颂并恭絵図」のように、三星が松と柏の木の下に会する构図が多く、三星の特徴は明らかで、福星は赤い官服を身に付け、如意と牡丹が富贵や福を表しています。禄星はたいてい子供を抱いており、「张仙送子」（张仙は子供を守る神）、「五子登科」（五人の子が试験に合格、子供が皆成功する）を意味しています。(J2--20110711) 网页展示说明 寿星は手に仙桃を持ち、子供に囲まれています。子供たちは霊芝や戟（兵器）、磬（楽器）、牡丹、宝瓶を手にしています。いずれもめでたさや富贵、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。「五代绣三星図」に见られる福、禄、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」の构図としては特殊なものです。精致な刺绣技法、华やかで丽しく典雅な色遣いなど、五代の刺绣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贵重なものです。(J3--20110711)
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