《阆苑女仙图》卷，五代，阮郜作，绢本，设色，纵42.7cm，横177.2cm。

　　本幅无作者款印，根据历代著录和卷后跋语，此图流传有绪，是阮郜唯一的传世作品。本幅有清乾隆帝题诗。本幅及前后隔水有高士奇、乾隆、嘉庆、宣统内府诸收藏印记共22方，残印6方。

　　“阆苑”是传说中仙人的住处，有时也指宫苑。此图描绘的当是仙山阆苑，为仙女生活游玩之地。图中描绘苍松翠竹间，一群女仙休闲的情景，其中三个地位显赫，在小仙女的陪侍下坐在一起，或执卷欲书，或展卷凝视，或拨弄三弦。四周有乘鸾女仙、乘龙女仙、驾云女仙，还有在海面上凌波漫步，缓缓而来的女仙，与地上群仙互为呼应。

　　画中女仙体态纤弱，衣纹勾描细密圆软，一反唐周昉时代侍女之丰肥与衣纹线条之方硬。树枝多画成蟹爪状，画法略似李成。坡石以墨线勾，染青绿色。水纹繁复，刻划极为生动，有唐人遗风。清人高士奇在跋中云：“五代阮郜畫，世不多見。《閬苑仙女圖》曾入宣和御府，筆墨深厚，非陳居中、蘇漢臣輩所可比擬。”

　　宋《宣和画谱》，清高士奇《江村消夏录》、《江村书画目》，卞永誉《式古堂书画汇考》，吴升《大观录》，内府《石渠宝笈·初编》等书著录。

 Ruan Yao, a painter of the Five Dynasties. Pei Wenzhai's Book of Paintings and Calligraphy lists Wu and Yue with doubts. Both Xuanhe Painting Spectrum and Picture Treasure Book only said that he was "a Zhai Lang of the Taimiao Temple" when he became an official.

Workers are especially good at ladies and ladies. The delicate and graceful manner and the interest of Langyuan in Yao Chi are outstanding in every aspect. In addition, Taoist themes and Xuanhe Picture Book are often used to record four works, including "Fairy Doctor (Winter arrow)", a "Laoyuan Fairy Picture", "Long Volume, Silk Book", describing the fairy stories of West Queen Mother's maid Calyx Luhua and Dong Shuangcheng. Neon feather cover, floating like clouds, with a concise pen, brilliant color, for the handed down genuine, is now hidden in the Palace Museum.

"Laoyuan Fairy Picture" Volume, Five Dynasties, Ruan Jiao's work, silk, color, vertical 42.7cm, horizontal 177.2cm.

This picture has no author's seal. According to the description of past dynasties and the postscript after the volume, this picture has a good circulation, and is the only work handed down by Ruan Jiao. This is a poem inscribed by Emperor Qianlong of the Qing Dynasty. There are 22 collections and 6 remnants of the seal of Gaoshiqi, Qianlong, Jiaqing and Xuantong Neifu.

Langyuan is the dwelling place of immortals in legend, and sometimes refers to the palace garden. This picture depicts the Longyuan Garden in Xianshan, a place for fairy girls to live and play. The picture depicts a group of fairies relaxing in the green pines and bamboos. Three of them are prominent. They sit together with the fairy's escort, either holding a book or staring at it, or playing with three strings. Around them are the Luan, Dragon and Cloud-driving fairies, as well as the daughters who walk slowly in the waves on the sea, echoing each other with the fairies on the ground.

In the painting, the fairy is delicate in body and the clothes are delicate, round and soft, which is contrary to the rich and fat maids and the square and hard lines of clothes in the Tang and Zhou Fang Dynasties. Branches are often painted in crab claw shape, similar to Li Cheng's. The slopes are painted green with ink lines. The water pattern is complex and vivid, with the legacy of the Tang Dynasty. Gao Shiqi of the Qing Dynasty said in his postscript: "Five generations of Ruan Jiao paintings are rare in the world. "Langyuan Fairy Picture" once entered Xuanhe Royal Palace, with deep ink, which is not comparable to Chen Juzhong and Su Han officials.

Song Xuanhe Painting Spectrum, Qing Gaoshiqi Jiangcun Xiaoxia Lu, Jiangcun Painting Bibliography, Bian Yongyu's Collection of Style Ancient Tang Painting and Calligraphy, Wu Sheng's Daguanlu, and Shiqubaoji Preliminary Edition of the Inner Government.