原文

卢眉娘

唐时南海多奇女子，为《鞶鉴图》女子而外，有七岁女及何仙姑，能为诗。有刘三妹者善歌，称为歌仙。若卢眉娘者，巧于刺绣，皆古今绝奇女也。眉娘生而眉绿细长，人以眉娘呼之。唐顺宗初，南海贡奇女即眉娘，时年十四，能于尺绢绣《法华经》七卷，字如粟粒，而点画分明。又能以五彩丝一楼分为三楼，于掌中结飞盖五重，中有十洲三岛、天人玉女、台殿麟凤之象，外有执幢捧节之童，不啻千数。其盖广一丈，重三四铢，自煎灵香膏傅之，顺宗叹其工，谓之神姑。因令止宫中，日惟饭胡麻二合。元和中，宪宗赐金凤环以束其腕，知眉娘不乐宫掖，遂度为女道士，放归南海，仍赐号逍遥大师。尸解后，棺中仅一藕屦云。

白话

中文

唐代的时候，南海郡（今广州一带）出了很多奇女子。除了创作《鞶鉴图》的那位女子外，还有七岁就能作诗的女童和（传说中能作诗的）何仙姑。有位叫刘三妹的女子擅长唱歌，被称为“歌仙”。至于卢眉娘，则精巧于刺绣。她们都是古往今来非常奇特的女子。

卢眉娘生下来眉毛就是绿色且细长，人们因此称呼她为“眉娘”。唐顺宗（李诵）刚即位时（公元805年），南海郡进贡的奇女子就是卢眉娘，当时她年仅十四岁。她能在一尺见方的绢上绣出《法华经》七卷，字的大小如同小米粒，但是笔画清晰分明。她还能将一股五彩丝线分成三股更细的丝线，在手掌中（意指技艺精湛，能在微小处施展）制作出五层重叠的飞天华盖模型，华盖内部绣有道教传说的十洲三岛、天人玉女、宫殿楼台、麒麟凤凰等景象，外面还绣有手持旌旗、仪仗的童子，数量不下千人。（此段描述其技艺之精微与复杂，尺寸“广一丈”或为夸张或指代所绣景象之宏大，而非实物尺寸）。这件作品（或指其所绣华盖）据说宽达一丈，重量却只有三四铢（古重量单位，极轻），她还自己熬制了有灵气的香膏涂抹在上面。唐顺宗惊叹她的技艺，称她为“神姑”（神仙般的女子）。

因此命令她留在宫中，每天只给她吃两合（古容量单位）的胡麻（芝麻）。到了元和年间（公元806-820年），唐宪宗（李纯）赏赐给她金质的凤凰手镯戴在手腕上，知道卢眉娘不喜欢宫廷生活，于是就让她出家成为女道士，放她回到家乡南海郡，并且赐给她“逍遥大师”的称号。传说她“尸解”（道教指修行得道者脱去肉身成仙）之后，人们打开她的棺材，里面只发现了一只用藕做成的鞋子。

英文

During the Tang Dynasty, Nanhai Commandery (modern Guangzhou area) produced many extraordinary women. Besides the woman who created the "Pánjiàn Tú," there was a seven-year-old girl and He Xiangu (a legendary figure also said to be capable of poetry) who could compose poems. There was a woman named Liu Sanmei who excelled at singing and was called the "Song Immortal." As for Lu Meiniang, she was skilled in embroidery. All of them were exceptionally remarkable women throughout history.

Lu Meiniang was born with fine, long, green eyebrows, which led people to call her "Meiniang" (Eyebrow Lady). At the beginning of Emperor Shunzong's reign (805 CE), Nanhai presented Lu Meiniang as a tribute "extraordinary woman"; she was fourteen years old at the time. She could embroider the entire seven volumes of the Lotus Sutra on a piece of silk one chi (Chinese foot) square. The characters were the size of millet grains, yet each stroke was clear and distinct. She could also split a single strand of five-colored silk thread into three finer strands. In the palm of her hand (metaphorically, indicating exquisite skill in minute detail), she could create a five-layered flying canopy model. Inside, it depicted the Daoist mythological Ten Continents and Three Islands, celestial beings, jade maidens, palaces, qilin, and phoenixes. Outside were no fewer than a thousand attendants holding banners and ceremonial insignia. (This passage describes the minuteness and complexity of her skill; the dimension "one zhang wide" is likely hyperbole or refers to the vastness of the depicted scene, not the physical size). This work (or the canopy she embroidered) was said to be one zhang (approx. 3.3 meters, likely an exaggeration) wide, yet weighed only three or four zhu (an ancient unit of weight, very light). She also concocted a spiritual fragrant ointment herself and applied it. Emperor Shunzong marveled at her craftsmanship and called her "Shéngū" (Divine Maiden).

Consequently, he ordered her to stay in the palace, where her daily diet consisted only of two ge (an ancient unit of volume) of sesame seeds. During the Yuanhe era (806-820 CE), Emperor Xianzong gifted her gold phoenix bracelets to wear on her wrists. Knowing that Lu Meiniang was unhappy with palace life, he allowed her to be ordained as a Daoist priestess, permitted her to return to her hometown in Nanhai, and bestowed upon her the title "Master Xiaoyao" (Master of Carefree Wandering). It is said that after her "shījiě" (liberation from the corpse, a Daoist method of achieving immortality), only a shoe made of lotus root was found in her coffin.

文化解读/分析

此条目记述了唐代南海传奇女子卢眉娘的事迹，展现了岭南地区女性的非凡才艺和独特的生命历程，具有重要的文化和民俗价值：

1. 岭南女性才艺的杰出代表：卢眉娘与《鞶鉴图》作者、七岁女童、何仙姑、刘三妹等并列，共同构成了唐代南海“奇女子”群像。卢眉娘的核心才艺是刺绣，其技艺达到了登峰造极的程度，特别是微缩刺绣（尺绢绣七卷《法华经》，字如粟粒）和复杂立体造型（掌中结飞盖）的能力，堪称神技。这不仅是中国古代刺绣工艺高水平的体现，也彰显了岭南女性的心灵手巧和艺术创造力。
2. 技艺通神与神化叙事：卢眉娘的刺绣技艺被描述得近乎神迹，如“字如粟粒，点画分明”、“丝分三缕”、“掌中结飞盖”、“重三四铢”等，这些描述带有一定的文学夸张色彩，旨在突出其技艺的超凡入圣。皇帝称其为“神姑”，进一步强化了她的非凡特质。这种“技可通神”的观念在中国文化中普遍存在，是对顶尖技艺的最高赞誉。
3. 个人命运与时代背景：“南海贡奇女”反映了唐代地方向中央进贡特殊人才（包括技艺人才）的制度。卢眉娘十四岁入宫，以绝技获得皇帝赏识，但也失去了自由（“不乐宫掖”）。最终被度为女道士并赐号“逍遥大师”，放归故里，这既体现了皇帝对人才的某种“爱惜”（不愿强留），也暗示了道教在唐代社会，尤其是宫廷生活中的影响，为不愿或不适合宫廷生活的特殊人物提供了一条出路。
4. 道教信仰与神仙传说：卢眉娘的结局充满了道教色彩。“日惟饭胡麻”（食素、服食，可能是道家养生或修炼方式）、被度为女道士、赐号“逍遥”（道家追求的精神境界）、最终“尸解”（道教成仙方式之一）、棺中留“藕屦”（仙人遗蜕的象征物），这些元素共同将卢眉娘从一位技艺精湛的宫廷绣女，升华为一位得道成仙的地方传奇人物。这反映了道教文化在岭南地区的渗透，以及民间将杰出人物神化的倾向。
5. 文化记忆与地方认同：屈大均将卢眉娘的故事收录于《广东新语》，使得这位唐代南海奇女子的事迹得以流传后世。她是岭南文化中女性才华与传奇色彩的象征之一，丰富了广东地方历史的人物谱系，有助于增强地方文化认同感和自豪感。她的故事融合了精湛技艺、宫廷生活、个人选择与道教信仰，具有多层次的文化意涵。

关键词

广东新语, 屈大均, 人语, 卢眉娘, 唐代, 南海郡, 广州, 刺绣, 微缩刺绣, 法华经, 飞盖, 十洲三岛, 奇女子, 才女, 贡女, 唐顺宗, 唐宪宗, 神姑, 宫廷生活, 道教, 女道士, 逍遥大师, 尸解, 藕屦, 岭南文化, 民间传说, 工艺美术