| 基本資料 | 藏品類型 | 繪畫 |
| 文物統一編號 | 故畫001285N000000004 抽盤點紀錄 修護紀錄 | |
| 作品號 | 故畫00128500004 | |
| 品名 |
明吳彬歲華紀勝圖 冊 浴佛 Selections from A Record of Yearly Observances: Bathing the Buddha |
|
| 分類 | 繪畫 | |
| 作者 | 吳彬;Wu Bin | |
| 數量 | 一幅 |
| 典藏尺寸 | 【位置】 | 【尺寸】(公分) |
| 本幅 | 29.4x69.8 |
| 質地 | 【質地位置】 | 【質地】 |
| 本幅 | 紙 |
| 題跋資料 | 【題跋類別】 | 【作者】 | 【位置】 | 【款識】 | 【書體】 | 【全文】 |
| 作者款識 | 吳彬 | 本幅 | 浴佛 | 篆書 | ||
| 印記： 吳文中氏、吳彬之印 | ||||||
| 印記資料 | 【印記類別】 | 【印記】 |
| 主題 | 【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 | 初夏（四月八日） | |
| 其他主題 | 山水 | 山徑 | ||
| 其他主題 | 山水 | 溪澗、湍泉 | 溪澗 | |
| 其他主題 | 人物 | 行旅 | ||
| 其他主題 | 人物 | 百姓 | ||
| 其他主題 | 佛道人物 | 僧（和尚、尼姑） | 和尚 | |
| 其他主題 | 樹木 | |||
| 其他主題 | 樹木 | 松 | ||
| 其他主題 | 樹木 | 柏 | ||
| 其他主題 | 建築 | 房舍 | ||
| 主要主題 | 建築 | 寺廟 | ||
| 主要主題 | 建築 | 塔 | ||
| 其他主題 | 建築 | 水利 | ||
| 其他主題 | 建築 | 籬笆、圍牆 | 圍牆 | |
| 主要主題 | 節令與二十四節氣 | 浴佛 | ||
| 其他主題 | 器用 | 宗教器用 | 幡 |
| 技法 | 【技法】 | 【技法細目】 |
| 工筆 | ||
| 界畫 | ||
| 皴法 | ||
| 人物衣紋描法(勻稱線條) | ||
| 苔點 |
| 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 | |
| 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、峨嵋、岷山諸大山川之雄奇。中晚期以後山水畫多以誇張和變形的手法，強調山巒峻削雄偉之感。 本冊共十二幅，描繪各月份的節慶活動。本次選展二幅：「結夏」以界畫樓閣庭院，曲橋荷塘，作斜向構圖，人物畫法一致，但各具情態。「浴佛」畫寺廟依山傍水而築，與自然環境融揉一片。兩幅描繪俱精緻而饒古趣。 | |
| 內容簡介（英文） | Exhibited here are two of the twelve leaves of the album A Record of Yearly Observances, which depicts the festivals of each month of the year. These two carefully executed outline-paintings, The End of Summer and Bathing the Buddha, have a slightly archaic air. Wu Pin was a native of P’u-t’ien, Fukien, but spent most of his life in Chin-ling (modern 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 traveled to western Szechwan, where he visited the unusual scenery of Mount Omei, Sword-pass Mountain, and Mount Min. His later landscapes, equally unusual, depict awesomely precipitous mountain ranges modeled in an exaggerated, somewhat surrealistic style. | |
| 內容簡介（中文） | 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，所繪佛像人物，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。 本幅為「歲華紀勝圖冊」之第四開，畫四月景。四月八日為佛誕。據聞釋迦牟尼出生時，諸天群集，以香水敬沐世尊，故佛誕又稱浴佛節。本作採俯瞰式構圖，院中僧侶群集，參禮佛像。寺塔重重，井然有序。瓦瓴、屋脊、石階等皆用界，線條簡潔有力，建築結構清晰可辨。 | |
| 內容簡介（英文） | Wu Pin, excelling in calligraphy and painting, was a native of P’u-t’ien, Fukien, but settled in Nanking. His style name was Wen-chung. He painted Buddhist images and figures in an unusual style, completely different from his predecessors. His landscape compositions were also different from the ordinary. He eschewed copying ancient manners. The fourth leaf of the album “Scenes of the Twelve Months”, this painting represents a scene of the fourth lunar month. The eighth day of the fourth lunar month was the birthday of the historical Buddha Śākyamuni. It is said that after the Buddha was born, celestial beings gathered and washed the Buddha with fragrant water. As a result, the birthday of Śākyamuni is also called the Buddha-washing Festival. The leaf depicts a scene from high above in which many monks assemble in a Buddhist monastery in order to pay homage to a Buddha statue. Layers of buildings are well organized. Roof tiles, ridges of roofs, and stone steps are all drawn with a ruler. Ruled lines are simple and forceful. The structures of the buildings are portrayed in a clear manner. | |
| 收藏著錄 | 故宮書畫圖錄，第二十三冊，頁70-75 | |
| 內容簡介（中文） | 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) | |
| 內容簡介（英文） | 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) | |
| 參考書目 | 何傳馨，〈明吳彬歲華紀勝圖 冊 浴佛〉，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。 |
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