明吳彬歲華紀勝圖 冊 結夏
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- 資料識別：
- 故畫001285N000000006
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 吳彬
- 主題與關鍵字：
- 夏景 奇石 瀑布 江河、湖海 高士（士人、隱士） 仕女 侍從（侍女、童僕） 百姓 楊柳 松 蓮荷 鴛鴦 燕 房舍 橋 庭院 欄杆 西瓜 菱角 藕 客舫 傢俱（屏風） 扇 飲食器 花器 珍玩．古玩 文玩（琴棋書畫）
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 29.4x69.8公分、全幅 70.3x76.8公分
- 關聯：
- 石渠寶笈續編（乾清宮），第一冊，頁433&*故宮書畫錄（卷六），第四冊，頁63&* 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（文中），所繪佛像人物，形狀奇特，不同於前人而能自立門戶。山水畫布置亦極別緻，不泥古，頗為新奇。 荷塘清暑，綠柳濃蔭，士人仕女及時行樂，清暑於水軒樓閣間。或曲橋漫步，或棹舫清遊，或採蓮水上。案桌上供瓜果瓶荷彝鼎，水上清風徐來，暗香撲面。清夏水鄉，彌多樂事。 本幅為歲華紀勝冊第六開。 &*End of Summer (from “Scenes of the Twelve Months”) Wu Pin (fl. 1573-1620) Ming Dynasty Wu Pin (style name Wen-chung) became famous for his painting and calligraphy during the Wan-li reign era (1573-1620). A native of P’u-t’ien, he later settled in Chin-ling (modern Nanking). All his paintings of Buddhist images and figures were so eccentric and different from those of his predecessors that he was able to establish his own style. His landscape compositions were also new and extraordinary, not stuck in ancient styles. In this painting is a lotus pond on a clear summer day shaded by lush, verdant willow trees. Ladies and gentlemen are seen passing time in entertainment and escaping the summer heat on the pavilion balcony. Some figures are strolling on a winding bridge, leisurely boating on the pond, and picking lotuses from the surface of the water. On the table is an offering of fruits with lotus blossoms in vases and bronzes. A light breeze has come off the pond and wafted the delicate fragrance. Thus, many entertainments are seen here on a clear summer day in the countryside. &* 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（文中），所繪佛像人物，形狀奇特，不同於前人而能自立門戶。山水畫布置也極別緻，不摹古，極為新奇。 按歲華紀勝圖冊，畫一年中十二景，筆墨設色遒勁清麗，雖有明代文徵明氣息，卻能自闢蹊徑，奇拙之氣，溢乎紙上。本幅為「結夏」，用色華麗而不俗氣，層層樓閣，荷塘遊船，極盡綺麗之變化。 &*The End of Summer (from Scenes of the Twelve Months) Wu Pin (active 1573-1619) Ming dynasty Wu Pin was famous as a calligrapher and painter during the Wan-li era. From P’u-t’ien, Fukien, he settled in Nanking. He painted Buddhist images and figures in an unusual style, completely different from his predecessors. His landscape compositions were also different from the ordinary. In both these genres he established his own unique style. He eschewed copying ancient manners; his style therefore was extremely new an original. This scene of the end of summer is from the album Scenes of the Twelve Months. The artist’s use of brush and ink and the application of color are strong, clear, and attractive. Although one can detect a hint of the style of Ming master Wen Cheng-ming, Wu Pin was able to forge a new path, adding a new flavor to the painting. The colors are bright, but not vulgar. In the layers of halls and pavilions, in the lotus pond with boaters, the artist captured exquisite subtlety. &*故宮書畫圖錄，第二十三冊，頁70-75&*1.何傳馨，〈明吳彬結夏〉，收入何傳馨、許郭璜編，《夏景山水畫特展圖錄》（臺北：國立故宮博物院，1991年七月初版），頁106。
- 管理權：
- 國立故宮博物院
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- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
