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【類別】 |
【參考資料】 |
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收藏著錄 |
盛京故宮書畫錄，第三冊，頁42-43
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收藏著錄 |
故宮書畫錄（卷八），第四冊，頁175
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收藏著錄 |
故宮書畫圖錄，第十九冊，頁367-370
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內容簡介（中文） |
吳彬（活動於西元一五六八至一六二七年），字文仲，福建莆田人，流居金陵（今南京）。能書善畫，畫山水、佛像、人物皆能自立門戶，造形奇異，迥別於前人。
此卷畫十八應真或坐或立，或止或行，形相奇古。全圖筆墨精妍，樹石造型，傅色墨染，具有藍瑛氣息。人物造形以及衣紋描法，已漸形成吳彬特有的素簡樸拙的風韻。款署枝隱頭陀，吳彬在南京時常用此名號。
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內容簡介（英文） |
Wu Pin (style name; Wen-chung) was a native of P’u-t’ien, Fukien, but later moved to Chin-ling (modern Nanking). Excelling at both calligraphy and painting, his paintings of landscapes, Buddhist images, and figures all enabled him to establish his own style. His works are often bizarre and completely different from those of previous painters.
This handscroll of the eighteen lohans includes depictions of eccentric and archaic-looking figures sitting, standing, walking and doing nothing. The application of brush and ink throughout the entire painting appears fine and graceful. In this painting, the design of the trees and rocks, together with the use of ink and colors, has the atmosphere of works by Lan Ying (1585-after 1600). Wu Pin’s description of human figures and drapery patterns already reflect what were gradually to become his uniquely plain and naive style. The inscription is signed, “The Dhūta of Chih-yin,” a style name that Wu Pin often used in Nanking.
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參考書目 |
1.李玉珉，〈明吳彬羅漢卷〉，收入李玉珉主編，《羅漢畫》（臺北：國立故宮博物院，1990年初版），頁79。
2.〈明吳彬羅漢〉，收入國立故宮博物院編，《晚明變形主義畫家作品展》（臺北：國立故宮博物院，1977年九月初版），頁202。
3.陳韻如；〈（傳）明吳彬羅漢 卷〉，收入何傳馨主編，《狀奇怪非人間 吳彬的繪畫世界》（臺北：國立故宮博物院，2012年十月初版），頁176-179。
4.鄭文倩；〈吳彬〈十六羅漢圖〉—晚明佛教的意象〉，《故宮文物月刊》，第357期（2012年12月份），頁52-61。
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內容簡介（中文） |
此卷描繪羅漢於山水間活動，十幾位羅漢姿態與現存美國的十六羅漢卷相似，從人物風格判斷，此卷應該是後人模仿之作。畫中山石質面，有吳彬繁密皴線加上青綠色點的手法，枝幹也具古怪造型，是一保留許多吳彬羅漢奇趣畫風的作品。
(20121018)
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內容簡介（英文） |
This handscroll depicts lohans, also known in Sanskrit as “arhat” (“worthy one”) in a landscape setting. The dozen or so lohans accord with a handscroll painting of the sixteen lohans now in a US collection. Judging from the style of the figures, this handscroll is probably a later imitation. The rendering of the rocks features the technique of dense texture lines and blue-green coloring associated with Wu Bin, while the trunks and branches are also contorted, thus retaining much of the eccentric painting style of Wu’s lohan painting.
(20121018)
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參考書目 |
何傳馨，〈明吳彬羅漢 卷〉，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176-179、221。
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