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(活動於西元一五九一至一六四三年),福建莆田人。字文中,流寓金陵,後以善畫,神宗召為中書舍人。曾遠遊西蜀,目睹蜀境雄偉山川,故其山水畫之布置構圖,能夠別具一格,不摹古人。 本幅繪中秋佳景:江中月影,與水榭塔寺倒影,相映成趣。寺邊有小徑西通院落人家,庭院背山倚巖,叢樹環抱,湍瀑穿流橋下,景色宜人。院中村人設案祭拜,坡臺、曲橋及篷舟上,士子三三兩兩,席地聚坐賞月。通幅設色雅淡,筆觸精緻饒具古趣。 &*A Record of Yearly Observances--Enjoying the Mid-autumn Moon Wu Pin (fl. 1591-1643) Ming Dynasty Wu Pin, style name Wen-chung, was a native of Pu-t’ien, Fukien, but spent most of his life in Chin-ling (modern Nanking). Because of his artistic achievements, he attracted the interest of the Wan-li emperor (reign 1573-1620) and later held a position in the Secretariat. Wu Pin travelled to Western Szechwan to view the majestic scenery and thereafter the compositional arrangement of his own landscapes is equally distinctive and innovative. This painting depicts a mid-autumn scene: the moon’s reflection mingles with the reflections of pagodas and temples. Beside the temple, there is a small path leading westward to people’s homes. The back of the courtyard faces the craggy precipices as rapid cascades flow under a curved bridge. Trees and bushes surround this delightful scene of figures celebrating the autumn moonlight. Villagers have set up a temporary alter and make offerings to the moon, while scholars in twos and threes sit on the terrace-top or on the bridge watching the moon. Still others tarry on a covered boat. Overall, the artist has used delicate brushstrokes to create an atmosphere of refined leisure with an archaic flavor. &*故宮書畫圖錄,第二十三冊,頁70-75&*1.林莉娜,〈明吳彬歲華紀勝圖〉,收入林莉娜編,《秋景山水畫特展圖錄》(臺北:國立故宮博物院,1989年十月初版),頁79。