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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁2028
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收藏著錄 |
故宮書畫錄（卷八），第四冊，頁85
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收藏著錄 |
故宮書畫圖錄，第八冊，頁283-284
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內容簡介（中文） |
吳彬，福建莆田人，活動於明代萬曆年間。以奇特的山水、人物畫風聞名，據載曾入萬曆時期宮廷畫院，畫作鮮少流通於一般民間。依明人文獻可知，吳彬約略於1580年代於南京活動，與當時南京士人多有往來，除去繪畫之外，吳彬亦能詩文，對於佛教信奉虔誠。吳彬的山水造型奇特，他善於將山體前後關係曖昧處理，或者使前山與後山不易區隔，或者營造出前山逐漸轉成後山之現象，變化出畫中的奇幻山體。此外，吳彬以質樸手法點染山石，在奇特造型中更添古意。另有論者以為吳彬畫風受到西方版畫影響，觀其畫中，奇趣與古意並陳，無論西法抑或復古，皆可反映晚明文化的豐富面向。（陳韻如）
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內容簡介（中文） |
吳彬，字文仲，一作文中，福建莆田人，流寓金陵。萬曆（西元一五七三至一六一九年）間以書畫擅名，佛像人物，形狀奇異，迥別前人，白描尤佳。其山水佈置用筆，亦絕不摹古，能夠自出新意。所畫立軸，多作筍峰千仞，懸瀑百丈，樹木叢生於峰頂。琳宇危構於山阿，雲霞四繞，離奇詭異，令人有恍入夢境之感。
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內容簡介（英文） |
Wu Pin., style name Wen-chung, was a native of P'u-t'ien in Fukien but moved to Nanking. During the reign of the Wan-li Emperor (1573-1620), he became famous as a painter and calligrapher. His ink-line drawings were especially fine, and his paintings of Buddhist figure subjects, with their strange and even weird forms, turned away from accepted styles. His landscape paintings, which strictly avoided copying old models, are examples of great originality. Most of his hanging scroll compositions center around clusters of needle-sharp peaks pierced by strings of waterfalls, dense woods gathered on mountain tops and monastic retreats perched on precipitous cliffs with clouds on all sides. His bizarre works have a dreamlike quality.
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參考書目 |
1.〈明吳彬仙山高士〉，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220。
2.陳韻如，〈「天子之寶 — 台北國立故宮博物院的收藏」展品系列(四) — 繪畫〉，《故宮文物月刊》，第247期（2003年10月），頁43。
3.陳韻如；〈明吳彬仙山高士 軸〉，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084-089。
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內容簡介（中文） |
此軸右上有吳彬自題「巒壑彙林含翠聳。天泉繞閣帶煙飛。」並鈐二印。畫中山巒層疊，分前中後三段。樓閣、人物活動穿插其間。主山峰頂雖由巒石堆出，但以完整輪廓線條連為一體，在奇特造型中帶有北宋大山氣勢，形成一種古樸中又有奇趣的效果。雖有研究以為吳彬山體造型可能與江南雁蕩山景觀有關，但從此畫構圖觀之，其亦可能轉化晚明可見的范寬山水樣式。
(20121018)
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內容簡介（英文） |
In the upper right corner of this painting is an inscription by the artist Wu Bin that reads, “Peaks and valleys gather trees with verdant loftiness. A heavenly cascade winds around pavilions bringing flying mists.” It also includes the impressions of two seals. The painting depicts layers of peaks divided into fore-, middle-, and background scenery interspersed with pavilions and figures. Although the top of the main mountain reveals emerging peaks, they are encompassed within a single outlined form. The unusual shape has the monumentality of Northern Song (960-1127) landscapes, creating an archaic yet fascinating effect. Although some scholars believe the forms of Wu Bin’s landscapes are related to scenery around the Yandang Mountains in Jiangnan, compositional analysis here suggests a transformation of the monumental Fan Kuan (fl. 10th c.) type of landscape seen in the late Ming dynasty.
(20121018)
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參考書目 |
劉宇珍，〈明吳彬仙山高士 軸〉，收入劉芳如主編《華夏藝術中的自然觀-唐獎故宮文物選萃特展》（臺北：國立故宮博物院，2016.09），頁188-191。
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