石渠寶笈初編(養心殿),上冊,頁660&故宮書畫錄(卷五),第三冊,頁315&故宮書畫圖錄,第六冊,頁327-328&吳偉(西元一四五九-一五○八年),湖北武昌人。字士英,號魯夫,又號小仙。幼年孤貧,流落到江蘇常熟,被進士錢昕所收養,後來漸以善畫而聞名,並為宮廷作畫。擅繪人物、山水。 一片銀白的寒雪,輝映在慘淡的天空。溪旁,一人帶著童子正要過橋,畏寒縮瑟的樣子,描寫得栩栩如生。全幅以大筆揮灑而成,有粗率豪邁的感覺,但筆法的運行卻粗細有致。 &Wu Wei (1459-1508), a native of Hupei, was orphaned as a youth and settled in Ch’ang-shu, Kiangsu province. He was thereupon taken in by the scholar Ch’ien Hsin. Later, Wu Wei became famous as a painter, and he even served as a court artist. He excelled at painting figures and landscapes. Here, silvery white snow shines against the dark and brooding sky. By the side of a stream, a man and his servant are about to cross the bridge. They huddle against the cold, making for a naturalistic scene. Using a large and extremely moist brush, Wu Wei achieved a sense of unrestrained freedom. He was also able to achieve a balance between rough and fine brushwork to bring out the best of both in this work. & 吳偉(西元一四五九至一五○八年),江夏人(湖北武昌)。字士英,號魯夫,又號小仙。幼年流落,曾傭工於錢昕家。後漸以善畫而聞名。憲宗時,為仁智殿待詔。 是幅山水大筆淋漓,不取碎景,故氣魄雄偉。用墨層次井井,能於澹裡求濃,故魯莽之中,不乏雅韻。惟此等畫總以騁技矜能為尚,蓋亦一時習氣使然。 &Wu Wei (1459-1508) was a native of Wu-ch’ang, Hupei. His style names were Shih-ying; his sobriquets were Lu-fu and Hsiao-hsien. As a youth Wu Wei traveled from place to place, once working as a servant in the home of Ch’ien Hsin. Later Wu Wei’s paintings became famous. During the reign of Emperor Hsien-tsung (1465-1487), he served as Painter-in-Attendance in the Jen-chih Hall. Using a large and extremely moist brush, Wu Wei did not seek to define minor details. Consequently the spirit of the landscape is a masterful one. The use of layer upon layer of ink enabled the artist to achieve a wide variety of tones even with pale inks so that he did not lack refinement even when most casual. This type of painting must always depend upon the utmost exertion of artistry; but Wu Wei’s style was also influenced by the taste of his time.