| 文物統一編號 |
故畫003762N000000000
|
| 作品號 |
故畫00376200000 |
| 品名 |
明吳偉寒山積雪 軸
Snow Accumulated in Cold Mountains |
| 分類 |
繪畫 |
| 作者 |
吳偉 |
| 數量 |
一軸 |
| 印記類別 |
印主 |
印記 |
| 鑑藏寶璽 |
清內府印 |
石渠寶笈 |
| 鑑藏寶璽 |
宣統帝 |
宣統御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆御覽之寶 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
養心殿鑑藏寶 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
山水 |
冬景（雪景） |
雪景 |
| 主要主題 |
樹木 |
寒林．枯樹 |
|
| 次要主題 |
山水 |
瀑布 |
|
| 次要主題 |
建築 |
橋 |
|
| 其他主題 |
山水 |
山徑 |
|
| 其他主題 |
器用 |
文玩（琴棋書畫） |
琴 |
| 其他主題 |
器用 |
服飾（對人） |
斗笠 |
| 其他主題 |
樹木 |
|
|
| 技法 |
技法細目 |
| 人物衣紋描法(粗細線條) |
|
| 苔點 |
|
| 皴法 |
|
| 皴法 |
斧劈皴 |
| 寫意 |
|
| 類別 |
參考資料 |
| 內容簡介 |
吳偉（西元一四五九－一五○八年），湖北武昌人。字士英，號魯夫，又號小仙。幼年孤貧，流落到江蘇常熟，被進士錢昕所收養，後來漸以善畫而聞名，並為宮廷作畫。擅繪人物、山水。
一片銀白的寒雪，輝映在慘淡的天空。溪旁，一人帶著童子正要過橋，畏寒縮瑟的樣子，描寫得栩栩如生。全幅以大筆揮灑而成，有粗率豪邁的感覺，但筆法的運行卻粗細有致。
|
| 內容簡介 |
吳偉（西元一四五九至一五○八年），江夏人（湖北武昌）。字士英，號魯夫，又號小仙。幼年流落，曾傭工於錢昕家。後漸以善畫而聞名。憲宗時，為仁智殿待詔。
是幅山水大筆淋漓，不取碎景，故氣魄雄偉。用墨層次井井，能於澹裡求濃，故魯莽之中，不乏雅韻。惟此等畫總以騁技矜能為尚，蓋亦一時習氣使然。
|
| Description |
Wu Wei (1459-1508) was a native of Wu-ch’ang, Hupei. His style names were Shih-ying; his sobriquets were Lu-fu and Hsiao-hsien. As a youth Wu Wei traveled from place to place, once working as a servant in the home of Ch’ien Hsin. Later Wu Wei’s paintings became famous. During the reign of Emperor Hsien-tsung (1465-1487), he served as Painter-in-Attendance in the Jen-chih Hall.
Using a large and extremely moist brush, Wu Wei did not seek to define minor details. Consequently the spirit of the landscape is a masterful one. The use of layer upon layer of ink enabled the artist to achieve a wide variety of tones even with pale inks so that he did not lack refinement even when most casual. This type of painting must always depend upon the utmost exertion of artistry; but Wu Wei’s style was also influenced by the taste of his time.
|
| Description |
1.〈明吳偉寒山積雪圖〉，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182。
2.林莉娜，〈明吳偉寒山積雪〉，收入林莉娜、張華芝編，《冬景山水畫特展圖錄》（臺北：國立故宮博物院，1989年元月初版），頁62-63。
3.胡賽蘭，〈巨幅名畫特展〉，《故宮文物月刊》，第118期（1993年1月），頁48。
|
| Description |
Wu Wei (1459-1508), a native of Hupei, was orphaned as a youth and settled in Ch’ang-shu, Kiangsu province. He was thereupon taken in by the scholar Ch’ien Hsin. Later, Wu Wei became famous as a painter, and he even served as a court artist. He excelled at painting figures and landscapes.
Here, silvery white snow shines against the dark and brooding sky. By the side of a stream, a man and his servant are about to cross the bridge. They huddle against the cold, making for a naturalistic scene. Using a large and extremely moist brush, Wu Wei achieved a sense of unrestrained freedom. He was also able to achieve a balance between rough and fine brushwork to bring out the best of both in this work.
|
| 收藏著錄 |
石渠寶笈初編（養心殿），上冊，頁660
|
| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁315
|
| 收藏著錄 |
故宮書畫圖錄，第六冊，頁327-328
|
| 網頁展示說明 |
吳偉（西元一四五九－一五Ο八年），字士英，又號小仙，湖北武昌人。善畫山水、人物，是繼戴進（一三八八－一四六二）之後浙派最重要的畫家。成化、弘治間任職內廷，受賜為「畫狀元」。
本幅畫白雪遍蓋山丘之景，落筆極見雄強奔放，兼採飛白墨線與留白法，成功營造出嚴冬中枯寒、寂寥與荒率的意境。畫中躬著身軀、瑟縮前行的策杖高士，努力抵擋寒風吹襲，彷彿也呼應了在逆境前行的喻意。
(20110712)
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| 網頁展示說明 |
Wu Wei (style name Shiying, sobriquet Xiaoxian) was a native of Wuchang in Hubei. He excelled at painting figures and landscapes. After Dai Jin (1388-1462), he was the most important Zhe school painter. During the Chenghua and Hongzhi reigns, he served at the court and was awarded the title "First in Painting."
This work depicts a scene of mountains covered with snow, the brushwork extremely strong and unrestrained, and the "flying white" broken ink lines and method of using blank areas effectively creating the idea of a realm of withered forests in a severe winter along with desolation and bleakness. The bent and huddled figure of the lofty scholar holding a staff makes his way along as he strives against the gusts of cold wind, as if echoing the metaphor of proceeding despite adversity.
(20110712)
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| 網頁展示說明 |
吳偉（1459-1508）、字は士英、號は小仙、湖北武昌の人。山水と人物畫を善くした。戴進（1388-1462）に続く、浙派の最も重要な畫家。成化、弘治年間に內廷に出仕し、「畫狀元」の印を賜った。
本作には真っ白な雪に覆われた山地の風景が描かれている。雄強奔放な筆遣いがはっきりと見て取れ、飛白（かすれた線）の墨線と余白を殘す技法も合わせて取り入れて、厳冬の寒々しい風景や寂寥感、荒涼とした雰囲気が見事に表現されている。畫中には寒さに身を縮めながら身をかがめ、杖をつきつき步く高士の姿が見える。吹きつける寒風に耐えるその様子は、逆境に負けずに前進することを示しているかのようである。
(20110712)
|
| 參考書目 |
林莉娜，〈明吳偉寒山積雪 軸〉，收入劉芳如主編《遺珠-大阪市立美術館珍藏書畫》（臺北：國立故宮博物院，2021.08），頁194-195、295。
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