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LATE MING DYNASTY TEN GU EMBROIDERED TAPESTRIES WITH FIGURE PATTERN

Lot No: 1267

Estimate(RMB): 400,000－500,000

155cm×63cm×10
“汾陽王”郭子儀，這位在唐代平定安史之亂、維系社稷安危的功勛之臣，自唐以后便成為華夏文化中“忠勇雙全、福祿壽全”的象征。明晚期，當(dāng)上海露香園的顧繡匠人以針為筆、以線為墨，將“汾陽王祝壽”這一經(jīng)典題材凝于錦緞之上時，一幅兼具歷史厚重感與工藝精妙性的《汾陽王祝壽圖》便應(yīng)運而生。這幅繡品不僅是顧繡“畫繡合一”藝術(shù)理念的極致體現(xiàn)，更成為承載古人價值追求與美好祈愿的文化豐碑。
要讀懂《汾陽王祝壽圖》，必先明晰“汾陽王”這一身份背后的文化重量。郭子儀被唐肅宗冊封為汾陽郡王，其一生歷經(jīng)七朝而不倒，既以“單騎見回紇”的智勇化解危機，又以“功高不震主”的智慧保全自身與家族，最終實現(xiàn)“七子八婿，富貴滿門”的人生境遇。這種“忠君報國”與“家族興旺”的雙重圓滿，恰好契合了明晚期社會的精神需求——彼時商品經(jīng)濟蓬勃發(fā)展，士紳階層既渴望效仿郭子儀的忠勇風(fēng)骨以彰顯氣節(jié)，又期盼家族綿延、福壽臨門以寄托現(xiàn)世安穩(wěn)。顧繡選擇這一題材，絕非單純的歷史復(fù)刻，而是精準(zhǔn)捕捉了時代的文化心理，使繡品從誕生之初便承載了超越視覺的精神內(nèi)涵。
作為顧繡巔峰時期的作品，《汾陽王祝壽圖》將“用料精、針法活、色彩雅”的工藝特質(zhì)展現(xiàn)得淋漓盡致。顧繡區(qū)別于普通刺繡的核心，在于其將文人畫的筆墨意趣融入針絲之間，而這幅繡品便是“以繡代畫”的典范。用料上，匠人選用了粗細(xì)各異的桑蠶絲、光澤流轉(zhuǎn)的金銀線，甚至輔以孔雀羽線點綴汾陽王的冠冕與朝服，僅郭子儀所著錦袍，便用十余種色線層層暈染，從領(lǐng)口的暗紋到衣擺的云氣，每一處都通過絲線的疏密與光澤變化，模擬出綢緞的柔滑質(zhì)感與華貴氣度；對于畫面中環(huán)繞的子孫賓客，其衣料則用素色細(xì)線繡制，以主次分明的色彩搭配凸顯汾陽王的核心地位。
針法的精妙更是這幅繡品的靈魂所在。為展現(xiàn)郭子儀雍容沉穩(wěn)的神態(tài)，匠人以“擻和針”細(xì)細(xì)勾勒面部輪廓，用淡赭色線迭繡皺紋，既保留了老者的莊重，又不失皮膚的溫潤質(zhì)感；表現(xiàn)衣紋褶皺時，采用“滾針”連貫游走，線條流暢如書法行筆，隨人體姿態(tài)自然轉(zhuǎn)折，賦予靜態(tài)畫面以動態(tài)張力；而背景中的山石樹木，則以“網(wǎng)繡”“纏針”結(jié)合，用粗線勾勒山石輪廓，細(xì)線填充肌理，再以石青、藤黃等雅致色彩暈染，實現(xiàn)了“墨分五色”的繪畫效果，讓繡面既有刺繡的肌理之美，又有文人畫的意境之深遠(yuǎn)。整幅作品中，人物的神情、器物的質(zhì)感、場景的氛圍，全憑針絲的起落與色線的搭配精準(zhǔn)傳遞，真正做到了“繡中有畫，畫藏于繡”。
《汾陽王祝壽圖》的價值，更在于它是明晚期社會風(fēng)貌與審美取向的“活化石”。畫面中，汾陽王端坐堂前，接受子孫跪拜、賓客恭賀，侍者手捧壽桃、錦緞等賀禮分列兩側(cè)，堂外松鶴延年、祥云繚繞，每一處細(xì)節(jié)都暗合“福壽雙全”“家族興旺”的寓意。這種將吉祥符號融入歷史場景的創(chuàng)作方式，既是顧繡“實用性與藝術(shù)性兼?zhèn)洹钡捏w現(xiàn)——繡品可作廳堂陳設(shè)，傳遞家族的文化品位；又反映了明代人“以史為鑒”“祈福納祥”的生活智慧。與純粹的書畫作品相比，顧繡以其立體的肌理感，讓“汾陽王祝壽”的場景更具感染力，使觀者仿佛能置身于那熱鬧而莊重的慶壽現(xiàn)場。
歷經(jīng)數(shù)百年歲月侵蝕，《汾陽王祝壽圖》的部分色線雖稍顯溫潤，但針絲間凝結(jié)的匠心與文化內(nèi)涵卻愈發(fā)清晰。它不僅是顧繡從“閨閣技藝”升華為獨立藝術(shù)門類的見證，更是中華民族“尊崇英雄、期盼和美”文化基因的載體。當(dāng)我們今日凝視這幅繡品，看到的不僅是汾陽王的歷史榮光，不僅是顧繡匠人的精湛技藝，更看到了一種跨越時空的文化共鳴——對忠勇的推崇，對福壽的向往，對家族的珍視，這些永恒的價值，正隨著針絲的流轉(zhuǎn)，在歲月中永遠(yuǎn)流傳。
RMB: 400,000－500,000
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