书体:

色彩:

设色

装裱形式:

轴

创作时间:

明神宗万历四十年（1612）

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：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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：干清宫鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：无逸斋精鑑玺

题跋资料:

题跋类别：作者款识；作者：郑重；题跋位置：本幅；款识：葛仙翁移居图。（篆书）。壬子（西元一六一二年）初夏。倣黄鹤山樵笔。郑重。（楷书）。；书体：篆书；全文： 印记：风道人、嬾重

主题:

主要主题：山水  主要主题：经史‧故事 葛洪移居；次要主题：建筑桥 ；次要主题：建筑台阁 ；次要主题：山水瀑布 ；次要主题：人物高士（士人、隐士）葛洪；次要主题：佛道人物道（道士、道姑）葛洪；其他主题：人物孩童 ；其他主题：建筑回廊 ；其他主题：建筑栏杆 ；其他主题：建筑房舍 ；其他主题：翎毛鹅 ；其他主题：翎毛鹤 ；其他主题：走兽鹿 ；其他主题：走兽狗 ；其他主题：走兽羊 ；其他主题：走兽牛 ；其他主题：树木松 ；其他主题：人物仕女 ；其他主题：山水山径 ；其他主题：人物侍从（侍女、童仆） ；其他主题：树木  ；其他主题：山水溪涧、湍泉 

技法:

皴法 皴法披麻皴人物衣纹描法(匀称线条) 苔点 

参考资料:

收藏着录： 石渠宝笈续编（干清宫），第一册，页443 收藏着录： 故宫书画录（卷五），第三册，页475 收藏着录： 故宫书画图录，第九册，页189-190 内容简介（中文）： 郑重（十七世纪前期），字千里，号无着，安徽歙县人，后流寓金陵。善写佛像，亦画山水小景，摹仿宋、元体均精妍。葛洪，晋句容人。自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子姪赴罗浮山炼丹，丹成尸解。本幅描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨、渴苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。 内容简介（中文）： 郑重，字千里，号无着，安徽歙县人，流寓金陵。活动于晚明清初。好楼居，日事香茗，善写佛像，必斋沐而后擧笔。丁云鹏推为赵伯驹后身，亦画山水小景，摹仿宋、元，体均精姸。　本幅设色画。鲍靓怀婴儿前行，葛洪后，俱骑牛，各一童执靷，一童担家具，一童捧鹅背药瓢。又有一羊二大。按葛洪，鲍靓均为晋时人，修行道教。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。 内容简介（中文）： 绘道教故实晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子姪赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。郑重（十七世纪前期）字千里，号无着，安徽歙县人，流寓金陵。善写佛像，亦画山水。(20091016) 内容简介（英文）： This work depicts the famous Daoist Ge Hong (283-343) moving home. Native to Jurong, Ge learned the art of alchemy from Zheng Yin. Later he heard of cinnabar in Jiaozhi in the far south, taking his family to Mt. Luofu in Guangdong to make the elixir of transcendence. Here, he is on an ox behind his wife (née Bao) and child. An attendant leads an ox, one has the furniture, and another holds a goose and a gourd of medicine. There is also a ram and two dogs. The layers of peaks were done with dense brushwork, much in Wang Meng’s (1308-1385) style, as the figures add life to the work. Zheng Zhong (style name Qianli; sobriquet Wuzhu) was a native of Shexian, Anhui, who resided in Jinling. He excelled at Buddhist subjects and landscapes.(20091016) 内容简介（英文）： Cheng Chung was a native of Anhui. He excelled in Buddhist painting. Whenever he drew Buddhist paintings, he must have purified himself by observing rules of abstinence and bathing. Ting Yün-p’eng praised Cheng as an incarnation of Chao Po-chü, who was a renowned figure painter of the Sung dynasty. He was also noted for his small landscape paintings and paintings after the styles of Sung and Yüan masters. This painting is in color. Pao Ch’ien, a female Taoist, carrying a baby moves forward, and Ko Hung, also a Taoist, follows. Additionally, there are a ram, two dogs, and three boys seizing a lether belt of an ox, carrying furniture, and holding a goose with two hands and carrying a medicine bottle on the back respectively. Thick layers of mountains and dense brushwork of this painting recall characteristics of Wang Meng’s works. The figures in this painting are lively and animated. 内容简介（英文）： Cheng Chung, a native of Hsi Hsien, Anhwei Province, was also called by his tzu (style name) Ch'ien-li and by his hao (sobriquet) Wu-cho. He was famous for painting Buddhist figures and landscape. In imitating the styles of Sung Yuan paintings, Cheng Chung successfully captured them with refined delicacy. Ko Hung was a reknowned Taoist of the Chin dynasty (265-420). He called himself Pao-p'u Tzu and learned from Cheng Yin the Taoist skill of refining elixir of life. Later when Ko Hung heared that there were great products of cinnabar in Chiao-chih (northern Vietnam), he moved his residence there and settled down in Mountain Lo-fu to practice the skill of refining elixir. Finally, he attained perfeftion in Taoism there.In this painting, the artist depicts the scene of Ko Hung and his family traveling on the road to Mountain Lo-fu. The elongated composition, brushwork and color rendering are obviously after the style of the Yuan master Wang Meng. Though the main theme of this picture is a Taoist story,the landscape is proportionately represented than the figures; this proves that after the Yuan dynasty landscape already developed as a leading catagory in Chinese painting history.