Hong-gah’s Embroidery Archive Exhibition

The original piece is now preserved in Taipei Ambassador Hotel. Being the epitome of modern embroidered portraits, this piece presented the festive, prosperous and invigorating atmosphere at a palace banquet. The picture was composed of numerous characters. Court musicians and dancers were crisscrossing all around the pavilion, where richly carved beams and columns, decorative rock mountains and bamboos could clearly be seen. People dancing and singing, drinking and playing, intoxicated or tipsy, bashful or affectionate, lingering or shuttling…… These nuances were all performed delicately and elegantly in the composition, which showed the virtuosity of the artist. On the embroidering, several techniques of Suzhou embroidery were engaged, such as even embroidery, layer stitch, neat stitch, gradient stitch and so on, exquisitely and vividly depicted the gala occasion of the original painting. Several embroidery professionals had worked together on the piece, and it took them two long years to finally complete this masterpiece, which seemed flawless and would came to life under the shine of light.

作品高雅而古意盎然。在煙色繡底上，一孔雀傲立于危岩之上，臨淵而姿態優雅，羽毛潔白潤澤，孤清高潔之態可掬，到回頭顧盼的神情，逶迤而下的羽尾，在危岩的襯映下，更是高標獨出。作品以蘇繡平繡，條紋繡多種刺繡針法繡成，如平繡的齊針、正戧、平套、散套、集套、摻針、施針以及條紋繡的接針、切針等十多種新法均靈活運用在刺繡中，使繡出的白孔雀在羽骨的簇領下，羽球質感輕盈而斑斕，羽毛飄逸而絲縷不亂，透明處尚隱現後面的紅色危岩。

雖然這裏只有寥寥幾筆線條的勾勒，同樣，天使小孩的天真顧盼，也給人以極大的感染力。余福臻僅以單純的黑線，藉由從淺到深的色階便有上十道，以蘇繡平繡散套入繡的線條，微妙而傳神地表達了原作神韻，使作品微妙如神。