石渠寶笈初編(養心殿),上冊,頁621&*故宮書畫錄(卷八),第四冊,頁40&*故宮書畫圖錄,第十八冊,頁121-124&*群雁棲息在沿江的芙蓉、蘆葦叢中,一雁鳴叫著飛臨,引起了雁群的注意,或引頸凝神,或軀身前來,聆聽牠傳來的訊息。畫家以寫意的筆法,生動的畫出雁群的生活狀態,雖標名為吳偉所作,但筆法反較類於明代仿林良者之風格。 吳偉(西元一四五九─一五0八年),江夏(湖北武昌)人。字士英,號魯夫,又號小仙。幼年曾傭工於錢昕家,後漸以善畫而聞名。憲宗時,為仁智殿待詔。&*通幅以寫意的筆法,生動描繪雁群的生活形態,岸邊蘆葦叢中,或引頸飛鳴、或優游嬉戲,以快速的運筆與粗率的筆法描繪群雁間的互動。 吳偉(西元一四五九-一五○八年),湖北江夏(今湖北武昌)人。擅畫山水人物,職仁智殿待詔,孝宗賜予「畫狀元」印。 本幅舊題為吳偉作,從放縱簡括的畫風看,較近于明代仿林良(一四三六-一四八七)風格,約成畫於明清之際。 &* This painting in “sketching ideas” brushwork vividly describes a lifelike scene of a flock of wild geese appearing among clusters of reeds. They stretch their necks, fly and call about, and swim in play. Done in quick and direct brushwork, the scroll depicts the interaction of a flock of wild geese. Wu Wei (style name Ciweng, sobriquet Xiaoxian), native to Jiangxia, Hubei (modern Wuchang, Hubei), excelled at painting figures and landscapes. He was a Painter-in-Attendance at the Renzhi Hall. Emperor Xiaozong awarded him the seal, “First in Painting.” Though ascribed to Wu Wei, the unbridled and concise manner here more reflects the style of Lin Liang (1436-1487), another Ming artist. This work was done in the late Ming or early Qing period.