《武陵春图》卷，明，吴伟绘，纸本，白描，纵27.5cm，横93.9cm。
本幅无作者款识。
此画钤“小仙”、“次翁”印2方。引首近代溥儒书：“武陵春色，大千先生命题。溥儒。”钤“旧王孙”、“溥儒之印”印2方。本幅有清洞径居士题句，钤张大千“不负古人告后人”、“大千好梦”等鉴藏印共6方。后幅有明徐霖书“武陵春传”，近、当代叶恭绰、吴湖帆、向迪宗、罗惇暖、顾飞、溥儒、吴定山、谢稚柳等10家题记。共钤印36方。
图中女子武陵春的面部和衣纹均以细匀的淡墨线条绘成，只在眼眸、发髻处用重墨点染，这种特殊的用墨方法不仅形成了生动的墨韵，同时也令画面清雅秀润，更贴切地表现出女主人的纤秀文静之美。此外，吴伟在创作上还采用了借物言志的艺术手法，以石桌上陈设的琴、笔、砚等文房用具揭示出武陵春内在的文化修养，以石桌左侧的盆景梅花象征武陵春心志如梅的高尚情操。以这些带有寓意性的物品作为衬景点缀画面，无疑在充实武陵春形象的同时也丰富了画面的视觉感受。吴伟凭藉其精湛的艺术造诣曾分别于明成化和弘治年间奉召进京供奉宫廷。他性情孤傲，不慕权势，为朝廷内外的恶浊环境所排斥。返回江南后，他常以饮酒狎妓遣释郁闷的心境，所以，他对青楼女子的生活有一定的接触和了解。当他闻知富有文采的武陵春身在青楼而不受所处境地的影响、对爱情忠贞不渝时，为之深深感动，遂援笔作此图，以示对武陵春的同情与敬仰。清吴麒《图绘宝鉴续纂》认为吴伟“画人物落笔健壮，白描尤佳”。此幅便是吴伟晚期白描画中的精品。吴伟的白描人物宗法唐代吴道子和宋代李公麟，强调线条自身婉转流动的韵律感和塑造形象的精确性。
明王世贞《艺苑卮言》、姜绍书《无声诗史》、徐沁《明画录》、王肯堂《郁冈斋笔尘》，清谢堃《书画所见录》著录。
--------Introduction in English--------
Wuling Spring Picture Volume, Ming Dynasty, Wu Wei Picture, Paper, White Drawing, 27.5 cm in length and 93.9 cm in breadth.
This picture has no author's knowledge.
This painting is printed on two sides: Xiaoxian and Xiweng. Lead to the modern Pu Confucian book: "Wuling Spring, Mr. Daqian proposition. Pu Ru. " Jun's "Old Wang Sun" and "Pu Ru's Seal" are printed on both sides. There are six inscriptions in this picture, including the inscriptions of Qing Dong Jing Jushi, Jun Zhang Daqian's "Don't undermine the ancestors'successors" and "Da Qian's dream". In the latter part, there are 10 inscriptions in the book "Spring Biography of Wuling" written by Xulin in Ming Dynasty, including Ye Gongchuo, Wu Hufan, Xiang Dizong, Luo Longnan, Gu Fei, Pu Ru, Wu Dingshan and Xie Zhiliu. A total of 36 sheet prints.
In the picture, women's face and clothing lines in Wulingchun are drawn with fine and even light ink lines, and are dyed with heavy ink dots only in the eyes and hair buns. This special ink method not only forms a vivid tone of ink, but also makes the picture elegant and elegant, and more appropriately reflects the beauty of the hostess's delicate and quiet. In addition, Wu Wei also used the artistic technique of expressing his ambition by borrowing things to reveal Wu Lingchun's inner cultural accomplishment with the piano, pen and inkstone on the stone table, and symbolized Wu Lingchun's noble sentiment with the bonsai plum blossom on the left side of the stone table. With these implied objects as the lining of scenic spots embellishment picture, undoubtedly in enriching the image of Wulingchun at the same time also enriched the visual experience of the picture. Wu Wei, with his exquisite artistic attainments, was summoned to Beijing to worship the court during the reign of Chenghua and Hongzhi in the Ming Dynasty. He was arrogant in nature and did not admire power, which was excluded by the vicious environment inside and outside the court. When he returned to the south of the Yangtze River, he often relieved his depression by drinking and prostitution. Therefore, he had some contact with and understanding of the life of women in Qinglou. When he heard that the literary Wuling Spring was in the Qinglou without being influenced by his situation and was faithful to love, he was deeply moved by it. He wrote this picture to show his sympathy and admiration for Wuling Spring. In Wu Qi's Continuation of Pictures and Paintings, Wu Wei thought that "the strokes of painters are strong, and the sketches are excellent". This painting is the best of Wu Wei's late white paintings. The patriarchal clan of Wu Wei's characters, Wu Daozi of Tang Dynasty and Li Gonglin of Song Dynasty, emphasizes the rhythm of the lines'euphemistic flow and the accuracy of image-building.
Wang Shizhen of Ming Dynasty, Jiang Shaoshu, Silent Poetry History, Xu Qin's Ming Painting Record, Wang Kentang's Yu Gang Zhai Bi Dust, and Qing Xiekun's Records of Calligraphy and Painting.
