《八十七神仙卷》真迹为白描长卷,是宋代画家武宗元《朝元仙杖图》的稿本。上世纪30年代,徐悲鸿从一位外国人的收藏中发现了它,不惜重金购回并为之定名,在画坛传为佳话。现藏北京徐悲鸿纪念馆。 而《八十七神仙卷》的越塑作品,则是民间艺术家胡阿寿的开山之作。胡阿寿出生在绍兴湖塘陌坞村一个农民的家庭,自幼酷爱画画,少年时在乡间写生,为“十里湖塘”的山水风光所陶醉,常常画得连饭都忘了吃,被乡人视为“画痴”。成年后他走乡串户为农民做漆匠、画彩画,常为自己功底浅薄而困惑,于是他下决心发奋学习,经人介绍到杭州拜访吴 “Eighty-seven immortal volume” authentic trace for the white drawings scroll, is the Song Dynasty artist Wu Zongyuan “Chaoyuan cents stick figure” script. In the 1930s, Xu Beihong discovered it from a foreigner’s collection, did not hesitate to repurchase and nominally give it a huge sum of money. Now hidden in Beijing Xu Beihong Memorial Hall. The “eighty-seven immortal volume” of the more plastic works, it is a folk artist Hu Shoushan mountains. Hu Ah Shou was born in Shaoxing, a village in the village of Wu Tang, a farmer who loved painting and painting in his childhood and was born in the countryside as a teenager. He was intoxicated with the landscape of “Shilihu Tong” People as “drawing crazy.” When he was an adult, he went to the village and worked as a painter for peasants. Painting and painting were often superficial and confused. Therefore, he decided to study hard and was introduced to Hangzhou to visit Wu