| 文物統一編號 |
故畫001285N000000006
|
| 作品號 |
故畫00128500006 |
| 品名 |
明吳彬歲華紀勝圖 冊 結夏
End of Summer |
| 分類 |
繪畫 |
| 作者 |
吳彬,Wu Bin |
| 數量 |
一幅 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
山水 |
夏景 |
六月 |
| 主要主題 |
建築 |
庭院 |
|
| 主要主題 |
節令與二十四節氣 |
|
結夏 |
| 次要主題 |
山水 |
奇石 |
|
| 次要主題 |
山水 |
瀑布 |
|
| 次要主題 |
樹木 |
楊柳 |
柳樹 |
| 其他主題 |
人物 |
仕女 |
|
| 其他主題 |
人物 |
百姓 |
|
| 其他主題 |
人物 |
侍從（侍女、童僕） |
|
| 其他主題 |
人物 |
高士（士人、隱士） |
士人 |
| 其他主題 |
山水 |
|
冰塊、冰山 |
| 其他主題 |
山水 |
江河、湖海 |
江河 |
| 其他主題 |
果蔬 |
西瓜 |
|
| 其他主題 |
果蔬 |
菱角 |
|
| 其他主題 |
果蔬 |
藕 |
|
| 其他主題 |
花草 |
|
花 |
| 其他主題 |
花草 |
蓮荷 |
|
| 其他主題 |
建築 |
房舍 |
|
| 其他主題 |
建築 |
橋 |
|
| 其他主題 |
建築 |
欄杆 |
|
| 其他主題 |
翎毛 |
燕 |
|
| 其他主題 |
翎毛 |
鴛鴦 |
|
| 其他主題 |
船 |
客舫 |
|
| 其他主題 |
器用 |
文玩（琴棋書畫） |
琴、棋 |
| 其他主題 |
器用 |
花器 |
|
| 其他主題 |
器用 |
珍玩．古玩 |
瓶、鼎、盉 |
| 其他主題 |
器用 |
扇 |
紈扇 |
| 其他主題 |
器用 |
傢俱（屏風） |
床、椅、桌 |
| 其他主題 |
器用 |
飲食器 |
大冰盤、水缸 |
| 其他主題 |
樹木 |
|
|
| 其他主題 |
樹木 |
松 |
|
| 技法 |
技法細目 |
| 人物衣紋描法(勻稱線條) |
|
| 工筆 |
|
| 界畫 |
|
| 苔點 |
|
| 皴法 |
|
| 類別 |
參考資料 |
| 內容簡介 |
吳彬，萬曆間（西元一五七三至一六一九年）以書畫聞名於世。福建莆田人，流寓金陵（今南京）。字文仲（文中），所繪佛像人物，形狀奇特，不同於前人而能自立門戶。山水畫布置亦極別緻，不泥古，頗為新奇。
荷塘清暑，綠柳濃蔭，士人仕女及時行樂，清暑於水軒樓閣間。或曲橋漫步，或棹舫清遊，或採蓮水上。案桌上供瓜果瓶荷彝鼎，水上清風徐來，暗香撲面。清夏水鄉，彌多樂事。
本幅為歲華紀勝冊第六開。
|
| 內容簡介 |
吳彬，萬曆間（西元一五七三至一六一九年）以書畫聞名於世。福建莆田人，流寓金陵（今南京）。字文仲（文中），所繪佛像人物，形狀奇特，不同於前人而能自立門戶。山水畫布置也極別緻，不摹古，極為新奇。
按歲華紀勝圖冊，畫一年中十二景，筆墨設色遒勁清麗，雖有明代文徵明氣息，卻能自闢蹊徑，奇拙之氣，溢乎紙上。本幅為「結夏」，用色華麗而不俗氣，層層樓閣，荷塘遊船，極盡綺麗之變化。
|
| 內容簡介 |
此冊描寫一年十二勝景，於篆書標題下皆有吳彬鈐印。前期展出元夜、鞦韆、蠶市、浴佛、端陽、結夏等六幅。畫中景物細膩生動，山林造型奇特、設色淡雅，顯出纖麗巧態。以時序活動為主題，構景多描繪江南景觀。如元夜景中有城牆、門樓、鰲山燈等，與南京城景關係密切。另如寺院浴佛、宅院置冰，也與明人生活逸事呼應。畫中講究遠景配置，凸顯遼闊景緻，兼具月令歲時與佳景記勝特色。
(20121018)
|
| Description |
This album includes beautiful scenes associated with each of the twelve lunar months. Below the titles in seal script are impressions of Wu Bin’s seals. The first part of the exhibit presents six paintings for the first half of the year: the Lantern Festival, playing on a swing, the silk market, bathing the Buddha, the Dragon Boat Festival, and the end of summer. The scenery in the paintings is delicate and animated, the mountain forests unusual in form with coloring light and elegant, reflecting fine beauty and a skillful manner. The themes are arranged chronologically against the backdrops of Jiangnan scenery. The Lantern Festival, for example, features scenery associated with a city wall, gateway, and ornamental “lantern mountain,” which are closely related to the city of Nanjing at the time. In addition, the bathing of the Buddha at a temple and the storage of ice at a courtyard also correspond to anecdotes in Ming dynasty life. The emphasis placed on distant scenery creates an expansive effect, combining records of the year with beautiful scenery.
(20121018)
|
| Description |
Wu Pin was famous as a calligrapher and painter during the Wan-li era. From P’u-t’ien, Fukien, he settled in Nanking. He painted Buddhist images and figures in an unusual style, completely different from his predecessors. His landscape compositions were also different from the ordinary. In both these genres he established his own unique style. He eschewed copying ancient manners; his style therefore was extremely new an original.
This scene of the end of summer is from the album Scenes of the Twelve Months. The artist’s use of brush and ink and the application of color are strong, clear, and attractive. Although one can detect a hint of the style of Ming master Wen Cheng-ming, Wu Pin was able to forge a new path, adding a new flavor to the painting. The colors are bright, but not vulgar. In the layers of halls and pavilions, in the lotus pond with boaters, the artist captured exquisite subtlety.
|
| Description |
Wu Pin (style name Wen-chung) became famous for his painting and calligraphy during the Wan-li reign era (1573-1620). A native of P’u-t’ien, he later settled in Chin-ling (modern Nanking). All his paintings of Buddhist images and figures were so eccentric and different from those of his predecessors that he was able to establish his own style. His landscape compositions were also new and extraordinary, not stuck in ancient styles.
In this painting is a lotus pond on a clear summer day shaded by lush, verdant willow trees. Ladies and gentlemen are seen passing time in entertainment and escaping the summer heat on the pavilion balcony. Some figures are strolling on a winding bridge, leisurely boating on the pond, and picking lotuses from the surface of the water. On the table is an offering of fruits with lotus blossoms in vases and bronzes. A light breeze has come off the pond and wafted the delicate fragrance. Thus, many entertainments are seen here on a clear summer day in the countryside.
|
| 收藏著錄 |
石渠寶笈續編（乾清宮），第一冊，頁433
|
| 收藏著錄 |
故宮書畫錄（卷六），第四冊，頁63
|
| 收藏著錄 |
故宮書畫圖錄，第二十三冊，頁70-75
|
| 參考書目 |
1.何傳馨，〈明吳彬結夏〉，收入何傳馨、許郭璜編，《夏景山水畫特展圖錄》（臺北：國立故宮博物院，1991年七月初版），頁106。
|
| 參考書目 |
何傳馨，〈明吳彬歲華紀勝圖 冊 結夏〉，收入《狀奇怪非人間-吳彬的繪畫世界》（臺北：國立故宮博物院，2012.10），頁104-163、218-219。
|
本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理
抽盤點紀錄
修護紀錄
