书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：客□主人
收传印记：允斌氏
收传印记：凤吹洛浦
收传印记：美人兮天一方

题跋资料:

题跋类别：作者款识；作者：史文；题跋位置：本幅；款识：玉蟾图。梁楷之意。再僊作。；书体：行书；全文： 印记：史文私印、尚质、荇太师之后裔

主题:

主要主题：佛道人物道（道士、道姑）刘海，道士；次要主题：树木松 ；次要主题：器用 葫芦一；次要主题：水中动植物青蛙．蟾蜍蟾蜍；其他主题：其他 一串钱

技法:

写意 皴法斧劈皴人物衣纹描法(减笔) 苔点 

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页89 收藏着录： 故宫书画图录，第九册，页271-272 参考书目： 1.王耀庭，〈明史文玉蟾图〉，收入王耀庭、童文娥编，《长生的世界：道教绘画特展图录》（台北：国立故宫博物院，1996年初版），页74。2.〈明史文玉蟾图〉，收入陈阶晋、赖毓芝主编，《追索浙派》（台北：国立故宫博物院，2008年初版一刷），页185。 内容简介（中文）： 史文，生卒年不详，字尚质，号再仙，工山水人物，师法梁楷，吴小仙等，形神逼肖。 本幅画老松一株，松针作车轮状，枝枒树根，曲折如铁，得马远眞传。主干弯曲，石块以大斧劈皴出之，乃浙派典型画作。画中刘海蓬头赤足，一三足玉蟾戏居其肩，葫芦贯钱綑绑腰间，笔法苍劲，线条肯定有力。史文传世画作虽不多见，然其为明代浙派之优秀画家，当可肯定。 内容简介（中文）： 史文，字尚质，号再仙。生卒年待考。工山水、人物，画法源自梁楷（活动于十三世纪前半）、吴伟（一四五九－一五○八）。 本幅画老松一株，枝桠树根曲折如铁；前景石块则以大斧劈皴出之，笔法至为苍劲。主角刘海蓬头赤足，腰系葫芦、贯钱，三足之巨蟾踞其肩，神情生动诙谐。史文传世作品虽不多，但由本幅推断，应属明代浙派之优秀画家。 内容简介（英文）： The Jade ToadShih WenMing Dynasty (1368-1644) Shih Wen excelled at painting landscapes and figures, taking the styles of Liang K’ai (fl. Early 13th c.) and Wu Wei (1459-1508) as his starting point. In this work, an old pine bends in and out of the frame with the power and resilience of steel. The large axe-cut texture strokes of the foreground rock are precise and powerful. The main figure is the Taoist immortal Liu Hai, who appears disheveled and barefoot with a gourd and string of cash tied around his waist. A large, three-legged toad of immortality sits on his shoulder looking out at the viewer with a mirror expression of smugness. Though not many works by Shih Wen survive, this painting shows that he was an exceptional artist of the Che School in the Ming dynasty. 内容简介（英文）： The Jade ToadShih WenMing Dynasty (1368-1644) Shih Wen (style name Shang-tz’u; sobriquet Tsai-hsien), the birth and death dates for whom are unknown, excelled at painting landscapes and figures, taking the styles of Liang K’ai (fl. Early 13th c.) and Wu Wei (1459-1508) to capture both spirit and form. This painting includes a single old pine tree, the needles of which have been rendered like the spokes of a cartwheel. The trunk and branches all twist and turn like iron rods much in the tradition of Ma Yüan (fl. late 12th-early 13th c.). The bend in the main trunk and the rocks have been textured using “axe-cut” strokes in the typical Che School manner of the Ming. The legendary figure Liu Hai appears here somewhat disheveled and with a three-legged toad on his shoulder. A gourd and a string of coins are tied around his waist. The brush manner is mature and the lines have the feeling of assuredness and strength. Although not many works survive by Shih Wen, he definitely appears to be an exceptional artist of the Che School.