秘殿珠林三編(乾清宮),頁71&*故宮書畫錄(卷五),第三冊,頁34&*故宮書畫圖錄,第六冊,頁323-324&*1.王耀庭,〈明吳偉北海真人像〉,收入王耀庭、童文娥編,《長生的世界:道教繪畫特展圖錄》(臺北:國立故宮博物院,1996年初版),頁83。 2.〈明吳偉畫北海真人像〉,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。 3.劉英貝,《吳偉人物畫風格研究》,國立中央大學藝術學研究所碩士論文,2007年。 &*吳偉(西元一四五九-一五0八年),江夏(今湖北武昌)人。字士英,號魯夫,更字次翁,別號小僊。幼年流落,曾傭工於海虞錢昕家。二十歲畫名大著。憲宗時,為仁智殿的待詔。孝宗曾賜畫狀元印章。 本幅畫北海真人坐跨於靈龜之上,灑脫自然,狀甚逍遙。人物神情生動,衣紋線條遒勁有力,是一幅明代人物畫的佳作。幅上有沈周的長題,筆法穩健,體勢挺拔。書畫二者兩相輝映,超逸絕倫。&*Sage of the Northern Sea Wu Wei (1459-1508) Ming Dynasty Wu Wei, a native of Hupeh, was reduced to poverty as a youth until he found work as a servant at the home of Ch’ien Hsin near Shanghai. By 19, he became known as a painter. In the Ch’en-hua era (1465-1487), he was Painter-in-Attendance at the Jen-chih Hall. The Hung-chih Emperor (r. 1488-1508) bestowed upon him the seal “First Among Painters.” In this work, the Sage of the Northern Sea sits on the back of a supernatural turtle above the water. Spirited and free, the rendering of the figure is animated and the drapery lines forceful-making this a major Ming dynasty figure painting. Above is a long inscription by Shen Chou with steady and powerful brushwork that complements the painting for a perfect match.