明吳彬歲華紀勝圖 冊 吳彬;Wu Bin ,

詳細資料

基本資料 藏品類型 繪畫
作品號 故畫00128500000
品名 明吳彬歲華紀勝圖 冊
作者 吳彬;Wu Bin
書體
色彩
裝裱形式 冊(推蓬裝‧方幅式)
創作時間
數量 一冊:十二開(本幅十二開十二幅)
作品語文
釋文

典藏尺寸 【位置】 【尺寸】(公分)
本幅一 29.4x69.8
本幅二 29.4x69.8
本幅三 29.4x69.8
本幅四 29.4x69.8
本幅五 29.4x69.2
本幅六 29.4x69.8
本幅七 29.4x68.7
本幅八 29.4x69.8
本幅九 29.4x69.8
本幅十 29.4x69.8
本幅十一 29.4x69.8
本幅十二 29.4x69.8

質地 【質地位置】 【質地】
本幅

印記資料 【印記類別】 【印記】
鑑藏寶璽 乾隆御覽之寶
鑑藏寶璽 乾隆鑑賞
鑑藏寶璽 石渠寶笈
鑑藏寶璽 三希堂精鑑璽
鑑藏寶璽 宜子孫
鑑藏寶璽 石渠定鑑
鑑藏寶璽 寶笈重編
鑑藏寶璽 乾清宮鑑藏寶
鑑藏寶璽 嘉慶御覽之寶
鑑藏寶璽 宣統御覽之寶
鑑藏寶璽 宣統鑑賞
鑑藏寶璽 無逸齋精鑑璽

參考資料 【類別】 【參考資料】
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
內容簡介(中文)   吳彬,活動於明萬曆十九年(一五九一)至崇禎十六年間(一六四三),福建莆田人,流寓南京,後以善畫,被召為中書舍人,深獲神宗賞賜。曾遠遊西蜀,目睹劍門、峨眉、岷山諸大山川之雄奇。中晚期以後,畫山水喜以誇張手法,強調山巒峻削雄偉之感。  本冊共十二幅,分寫一年中各月份的節慶活動。幅中景物,多著意變形,饒有奇趣。如畫人物,外形肖似陶偶;畫樹則矮圓,且枝幹轉折靈動。故通體結構雖不盡真實,但分物細看卻處處變化,誠屬吳彬極精之作。
內容簡介(英文) Wu Pin was a native of P’u-t’ien, Fukien province, but lived mainly in Nanking. His artistic talents brought him a position in the Secretariat, and his works were much admired by the emperor Shen-tsung (r. 1573-1620). Wu Pin travelled to western Szechwan, where he visited the magnificent and unusual scenery of Mount O-mei, Sword-pass Mountain, and Mount Min. In his later landscapes, he liked to depict equally unusual, awesomely precipitous mountain ranges modelled in an exaggerated style. This album, composed of twelve leaves, depicts the festivals of each month of the year. Wu Pin has used his conception of “supra-realistic” form, giving the scenery a rather strange appearance. For example, his figures resemble ceramic statues, but his forests, comprised of short, rounded trees with branches emerging nimbling from the trunks, almost move with life. Wu Pin’s compositions do not look realistic, but each individual element has been carefully painted and reveals subtle changes. This album is truly one of Wu Pin’s masterpieces.
內容簡介(中文) 吳彬,字文仲,福建莆田人,流寓金陵(今南京)。萬曆(一五七三-一六一九)間,以書畫聞名於世。所繪人物,形狀奇特,不同於前人,自成一家。山水畫布置亦極新奇而不摹古。   本冊共十二幅,描繪一年當中的各種節慶活動。幅中景物,多著意變形,饒有奇趣。畫中人物,外形肖似陶偶;畫樹則矮圓,且枝幹轉折靈動。通體結構雖不盡真實,但細看卻處處變化,堪稱吳彬的極精之作。(20100101)
內容簡介(英文) Wu Bin (style name Wenzhong) was a native of Putian, Fujian, who resided in Jinling (modern Nanjing). He became famous for painting in the Wanli reign (1573-1619), his figures noted for their eccentric manner different from the ancients and in his own style. His landscape arrangements are also very innovative and not mere imitations of old styles. This album of twelve leaves depicts various activities of the lunar calendar. The scenery is mostly inventive and distorted for a truly strange manner. The figures are all like ceramic statues, while his trees are short and rounded with contorted and writhing branches. Although the structure is not quite natural, each detail is rendered with subtle transformations, making this a masterpiece of Wu’s painting.(20100101)
參考書目 1.國立故宮博物院編輯委員會,〈明吳彬歲華紀勝圖〉,收入國立故宮博物院編輯委員會編,《界畫特展圖錄》(臺北:國立故宮博物院,1986年初版),頁62-63。 2.〈明吳彬歲華紀勝〉,收入國立故宮博物院編輯委員會編,《園林名畫特展圖錄》(臺北:國立故宮博物院,1987年十月初版),頁76-77。 3.〈明吳彬歲華紀勝〉,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186。 4.〈明吳彬歲華紀勝元夜〉,收入國立故宮博物院編輯委員會編,《春景山水畫特展圖錄》(臺北:國立故宮博物院,1987年一月初版),頁51。 5.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。 6.林莉娜,〈明吳彬歲華紀勝圖〉,收入林莉娜編,《秋景山水畫特展圖錄》(臺北:國立故宮博物院,1989年十月初版),頁79-80。 7.劉馥賢,《吳彬《歲華紀勝圖》冊之研究》,國立師範大學美術研究所碩士論文,2007年。 8.陳韻如;〈明吳彬歲華紀勝圖 冊〉,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104-163。
網頁展示說明 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,後期展出中元、玩月、登高、閱操、賞雪、大儺等六幅。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;登高景中有山形奇特,學者推測為南京近郊牛首山。另如寺院浴佛、宅院置冰、玩月、閱操、賞月等,皆能與明人生活逸事呼應。畫中講究遠景配置,凸顯遼闊景緻,全冊兼具月令歲時與佳景記勝特色。 (20121018)
網頁展示說明 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 second part presents six for the latter half of the year: the Ghost Festival, appreciating the moon, ascending the heights, reviewing troops, enjoying the snow, and dispelling evil spirits. 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. Ascending the heights reveals unusual mountain scenery, which scholars associate with Oxhead Mountain on the outskirts of Nanjing. In addition, the bathing of the Buddha at a temple, the storage of ice at a courtyard, appreciating the moon, reviewing troops, and enjoying the snow all 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. Thus, the album combines records of the year with scenic local sites. (20121018)
網頁展示說明 本冊には一年十二景が描かれており、篆書による標題の下に吳彬の落款がある。前期は「元夜」、「鞦韆」、「蚕市」、「浴仏」、「端陽」、「結夏」六幅、後期は「中元」、「玩月」、「登高」、「閱操」、「賞雪」、「大儺」六幅を展示する。丁寧に描かれた畫中の景物はどれも生き生きとしている。山林の特殊な造形、淡く品のよい著色など、纖細な美しさが感じられる。季節の行事を主題とし、その多くに江南の景観が描かれている。「元夜」には、南京の町の風景ならではの城壁や門楼、鰲山燈などが描かれている。「登高」に描かれた奇妙な形の山は、南京近郊の牛首山ではないかと推測されている。このほか、寺院の浴仏会、庭での氷保存、月見、閱兵、雪見など、どの作品も明人の暮らしの一齣に呼応している。遠景の配置にこだわったと見られ、大きく開けた眺めが際立っている。全冊を通して見ると、季節ごとの行事や佳景のよい記錄にもなっている。
參考書目 何傳馨,〈明吳彬歲華紀勝圖 冊〉,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。