織繡工藝自古與生活緊密結合，在宗教文化方面的表現更具特色，尤其用於佛、道繡像與神龕的裝飾織繡品，巧妙運用各種針法、製作技巧、各種線材的表現，令人讚嘆。其中以雀金繡的製作更是一大絕技，源自戰國，幾近失傳，該織繡工藝在2015年首度來臺參加臺灣國際天然染織交流活動時，僅有兩件作品，但已讓臺灣地區織繡工藝領域專家與愛好者初開眼界，並且期盼能有機會在來臺正式展出，兩岸織繡界能透過雀金繡工藝進行更具深度與廣度的交流。

呼應前述之期待，本館特邀洛陽中國非物質文化遺產雀金繡技藝傳人－王麗敏院長合作，結合本館的展藏特色，展現織繡工藝與宗教文化的關係，舉辦雀金繡宗教藝術展。王麗敏綜合刺繡、緙絲、堆繡、繪畫等技法於一，創作極為精緻華貴的雀金繡品，可謂萬縷千絲、定於一心。這類稀有的刺繡絕技，自古只見於宮廷，甚少流落民間。本次展覽精選36件，每件作品費時一至三年，除了讓觀眾親臨觀賞真品，理解中國傳統雀金繡工藝繡法同時，對織品媒材製作及主題內容有深入的介紹並辦理多場講座，使大眾有更寬闊的認識，有利刺繡工藝的文創產業推廣。

The Arts and Crafts Movement was led by William Morris in mid-18th century England. The movement advocated that art should be made with honesty, and promoted the status of craftsmen as artists. In Japan 1925, Yanagi Muneyoshi founded mingei (folk craft) to express the beauty of practical use. Each culture has its own unique craft cultural movement. Putting aside the question of whether eastern cultures were influenced by the arts and crafts movement of the west, both movements showed anti-industrial tendencies These movements expressed the value of craftsmanship and brought forth innovative concepts to traditional crafts. In 2003, UNESCO passed the Convention for the Safeguarding of the Intangible Cultural Heritage, a treaty devoted to preserving cultural diversity and continuing respect for creativity. Various countries are also beginning to value the importance of preserving the intangible cultural heritage.

The Museum of World Religions has long been dedicated to introducing different religious cultures to Taiwan society. By exposing the public to multivariate religious cultural heritages, the museum hopes to educate visitors on the importance of cherishing cultural resources, understanding the core beliefs of religion, and to treat different cultures with respect. The art of embroidery has been inseparable from everyday life since ancient times and has produced particularly exciting works in religious themes. For instance, embroidery used for images of the Buddha and propitious themes requires different stitching methods, production techniques, and materials that are truly spectacular. This exhibition is a collaboration with Louyang Quejinxiu Research Center to display the relation between embroidery and religious culture.

Artist Wang Li-Min combines the techniques of embroidery, tapestry, barbola, and drawing to create glamorous and exquisite works that are both complicated and harmonious. This rare embroidery technique was previously restricted to royal courts and rarely seen among the commoners. The 36 displayed works all took one to three years’ time to complete, and offer an opportunity for visitors to admire and learn more about techniques of traditional Chinese feather embroidery, and have a chance to gain a broader understanding of the production of fabric material and selected topics.

該作品很具有裝飾性，色彩華麗，用材考究，構圖為鋪墊花風格，以佛教聖物白象寓意大吉祥，上部以藍絲緙底，用金線平緙乾隆御題“白象圖丙寅仲春禦提”等字及諸鑑藏印，極具帝王之勢，作品下半部，乃以白象為主題的刺繡，用孔雀羽撚線鋪地滿繡，金線繡雲紋，迴紋邊框，充滿了皇家氣息。此幅作品歷時一十四月完成。

畫作膚色。繡製服飾，袖口滾花邊。綴花衣袍，金縷線勾勒。雕作行笈，經書滿笈。堆紗拂塵。編結芒鞋。銀縷堆雕九顆碩大佛珠。幾種織繡技藝巧妙配合，雕繡之作栩栩如生。漫漫求索路上，影伴孤身的行腳路程……。歷時六月繡製而成。

作品主題為佛教中的皈依印，畫面中七朵盛開的蓮花高潔典雅，安靜祥和撫平心中漣漪。書「一花一淨土 一土一如來」。歷時月餘繡製完成。

作品採用緙繡混色法。緙織金身及藏青色地，主體花紋用金縷線和雀羽線刺繡而成。孔雀明王一面四臂，面相方圓，法相莊嚴，手持蓮花、俱緣果、吉祥果、孔雀尾、跨乘金色孔雀王。作品色彩亮麗，施針緊密，線條流暢。金色孔雀王雙腿遒勁有力，身後孔雀尾開屏繡製成美麗背光。

此雀金繡臻品，天王身黃色，如同金子般燦爛輝煌，從他的身上，放射出萬道光芒。頭戴綴滿珠寶的王冠，黃金的盔甲上套著華貴的絲綢天衣，圓睜兩眼，滿鬢鬍鬚，騎一匹咆哮著的綠鬃白獅。他的右手不停地轉動著寶幢，寶幢轉動便產生源源不斷地散佈財富；他的左手抱著一隻吐寶鼬，從鼬的嘴裡能吐出取之不盡用之不竭的珍寶，由於其樂善好施，為人間佈下無窮財富。

以唐代畫家閻立本所繪《楊枝觀音》為藍本，菩薩右手執楊枝，左手輕托白玉淨杯。珠冠錦袍，瓔珞飄披，瑞相壯麗，儀態萬方。作品畫繡結合，以筆尖的細膩勾畫出菩薩的雍容秀美，以針尖用金縷線、銀縷線、五彩絲線繡出菩薩的華貴端莊。歷時五月繡製完成。

滿繡填地五彩及金線繡，白度母身如雪山潔白，寶珠瓔珞遍體，結跏跌坐於蓮花月輪上。通幅以細平線或粗鬆線用短針等距或長針交錯法以平針、亂針、穿珠繡、堆繡、釘金繡等技法。繡線富於光澤，所繡圖樣運針及配色更勝於原畫稿，繡像針法運用靈活多樣，針法細膩、配色豐富、層次分明。

文殊菩薩，即文殊師利或曼殊室利，因德才超群，居菩薩之首。繡作中的文殊菩薩右手執金剛寶劍，以智慧斬斷一切眾生煩惱，頭戴寶冠，身披瓔珞天衣，身形飄逸且雍容華貴。滿繡填地五彩及金線繡，使用粗捻金線勾线條，長短針交錯繡等十餘種針法，隨物象而運針，自然而無定向，設色鮮亮華麗，絲光耀眼奪目，繡工精美。