| 【類別】 | 【參考資料】 |
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收藏著錄
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秘殿珠林三編（延春閣），頁121
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收藏著錄
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故宮書畫錄（卷八），第四冊，頁52
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收藏著錄
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故宮書畫圖錄，第二十冊，頁53-56
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參考書目
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1.〈明石芮軒轅問道圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁171。
2.廖堯震，〈新發現5件石銳！明代宮廷畫家石銳作品的改定研究〉，《典藏古美術》，第219期(2010年12月)，頁130-143。
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參考書目
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許文美，〈明石芮軒轅問道圖 卷〉，收入《何處是蓬萊-仙山圖特展》（臺北：國立故宮博物院，2018.06），頁124-129、169-170。
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內容簡介（中文）
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石芮，生卒年里不詳；據本幅拖尾劉翔跋，石芮當屬明前期活躍於京師之畫家。「軒轅問道圖」殆寫黃帝軒轅氏聞廣成子居崆峒山，有道而壽，遂駕往請益，廣成子授以精極至道之故實。後人乃圖其跡，藉以闡明至道之傳承有緒。本幅計繪軒轅氏、廣成子塈侍從共二十人。衣紋於橛頭釘中蘊藏戰筆，配景復見馬遠式斧劈皴及拖技樹法，與浙派畫家戴進、吳偉關係密切，可謂為明浙派前期之風貌。
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內容簡介（英文）
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The Yellow Emperor Inquires After the Tao
Shih Jui
Ming Dynasty (1368-1644)
Little is known about the painter Shih Jui. In a colophon attached to this painting, the Yung-lo period bureaucrat Liu Hsiang stated that Shih was an early Ming dynasty painter living in the capital.
This painting depicts the Yellow Emperor’s visit to the hermit Kuang-ch’eng-tzu of K’ung-t’ung Mountain, who reputedly had discovered the secrets of immortality and the Tao. In later generations, this scene was painted in order to demonstrate that the Yellow Emperor (the legendary first emperor of China) had set the precedent for seeking advice from wise hermits. The clothing folds and landscape elements all incorporate techniques found in the works of the Sung dynasty painter Ma Yuan. This work is also closely related to the works of the Ming dynasty Che school artists Tai Chin and Wu Wei, and may considered an early example of Che school work.
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