书体:

色彩:

设色,青绿

装裱形式:

轴

创作时间:

明世宗嘉靖四十二年（1563）

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：养心殿鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：顾氏芸阁珍藏
收传印记：顾氏汝修
收传印记：顾从德印
收传印记：苍巖
收传印记：蕉林居士
收传印记：方壶山人
收传印记：石氏家藏

题跋资料:

题跋类别：作者款识；作者：文伯仁；题跋位置：本幅；款识：方壶图。（篆书）。嘉靖癸亥（西元一五六三年）春三月望日。为汝脩先生写。五峰山人文伯仁于金陵客次纪。；书体：行楷书；全文： 印记：伯仁（连珠印）、德承、画隐

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：乾隆甲子暮春御题；书体：行书；全文：琼室珠宫镜里涵。石桥断后渺难探。汉皇却欲寻仙路。致使齐人搤掔谈。乾隆甲子暮春御题。印记：乾隆宸翰、几暇临池

主题:

主要主题：山水名胜仙山方壶主要主题：山水江河、湖海湖海；次要主题：山水云云海；其他主题：山水日景 ；其他主题：山水山径 ；其他主题：建筑回廊 ；其他主题：建筑桥 ；其他主题：建筑水榭 ；其他主题：建筑台阁 ；其他主题：建筑宫殿 ；其他主题：树木  ；其他主题：树木松 ；其他主题：树木杨柳 

技法:

工笔 皴法 

参考资料:

收藏着录： 石渠宝笈初编﹝养心殿﹞，上册，页655 收藏着录： 故宫书画录﹝卷五﹞，第三册，页399 收藏着录： 故宫书画图录，第八册，页77-78 参考书目： 1.王耀庭，〈明文伯仁方壶图〉，收入王耀庭编，《青绿山水画特展图录》（台北：国立故宫博物院，1995年七月初版一刷），页91-92。 内容简介（中文）： 文伯仁（西元一五○二－一五七五年），征明从子，字德承，号五峰，又号葆生、摄山老农。长洲（江苏苏州）人。善山水、人物，巖峦郁茂，学王蒙而不失家法。本幅波涛万顷间，有仙山浮起，白云缭绕其上，中藏道观数起，自成桃源。全幅用笔繁细，敷色雅澹。「方壸」，为古代传说中的仙山「方丈山」。 此画取道教题材，故上下款也仿照早期释道画加框榜题的习惯。 内容简介（中文）： 文伯仁（一五○二－一五七五），征明从子，字德承，号五峰，又号葆生、摄山老农。长洲（江苏苏州）人。善山水、人物，巖峦郁茂，学王蒙而不失家法。本幅波涛万顷间，有仙山浮起，白云缭绕其上，中藏道观数起，自成桃源。全幅用笔繁细，敷色雅澹。「方壸」，为古代传说中的仙山「方丈山」，〔列子汤问〕：「渤海之东，不知几亿万里，有大壑焉：其中有五山焉：一曰岱舆，二曰员蟜，三曰方壶，四曰瀛洲，五曰蓬莱。」此画取道教题材，故上下款也仿照早期释道画加框榜题的习惯。 内容简介（中文）： 文伯仁（1502–1575），字德承，号五峰，又号葆生、摄山老农。长洲（今江苏苏州）人，文征明侄。山水宗王蒙，得巖峦郁茂之意，善画人物，亦能诗。「方壸」为古代传说中的仙山，本幅以俯视的角度呈现桃源仙境，画中仙山如大海中的小岛，波涛万顷间，白云缭绕其间，中藏道观数起，似漂浮于太虚之境。全幅用笔繁细，波浪云海或山峰茂叶，用笔严谨，墨笔皴线上薄施青绿，别具清雅气息。(20120714) 内容简介（英文）： Wen Boren (style name Decheng; sobriquets Wufeng, Baosheng), native to Changzhou (Suzhou, Jiangsu), was a nephew of Wen Zhengming. In landscapes, he followed Wang Meng, achieving his dense lushness of hills and peaks. Wen also excelled at figures and was gifted at poetry, too. Fanghu was said to be a mountain of the immortals, this work a bird’s-eye view of that fairy-tale-like realm. Here the mountain appears as a small island in a vast sea as waves spread endlessly with coiling white clouds. Amongst the peaks are Taoist abbeys that seem to float in the great void. The brushwork is exquisite, the waves, clouds, peaks, and vegetation all in exacting brushstrokes. A light blue-and-green added to the strokes and texturing provides pure elegance.(20120714) 内容简介（英文）： Wen Po-jen, a native of Soochow, Kiangsu, was a nephew of Wen Cheng-ming. His style name was Te-ch’eng, sobriquets Wu-feng, Pao-sheng, and She-shan lao-nung. He excelled in landscape and figure painting. His landscape painting with dense forests on mountains and crags follows Wang Meng’s manner, but he still retained the family style of Wen Cheng-ming. From the vast sea of roaring waves tower up immortal mountains whose peaks touch clouds. Taoist temples are nestled in the mountains. The world within makes a paradise. The whole painting is executed with complicated, fine brushstrokes and elegant, light colors. The Fang-hu Mountain, also called the Fang-chang Mountain according to ancient legends, is one of the five immortal mountains in the Po Ocean. Because this painting adopts a Taoist subject, its inscriptions are written within rectangular frames, following the convention of early Taoist and Buddhist paintings. 内容简介（英文）： Wen Po-jen, a native of Soochow, was a nephew of the famous artist Wen Cheng-ming. In painting, Po-jen excelled at figures and landscapes, which usually have dense forests and mountains like those of Wang Meng yet still in the Wen family style. From the vast sea of roaring waves, peaks of the immortals tower up and touch the clouds. Taoist temples are nestled in the mountains. The world within makes for a paradise. The work is executed with complex, fine brushstrokes and elegant, light colors. Fang-hu is one of the 5 legendary mountains of the immortals in the Po Sea. Since this work adopts a Taoist subject, the inscriptions are written with rectangular frames in the convention of early Taoist and Buddhist paintings.