书体:

色彩:

水墨

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：秘殿珠林
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：秘殿新编
鑑藏宝玺：珠林重定
鑑藏宝玺：干清宫鑑藏宝
鑑藏宝玺：太上皇帝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：吴伟；题跋位置：本幅；款识：江夏吴伟；书体：行楷书；全文： 印记：吴伟、小仙

主题:

主要主题：佛道人物神、仙2人；次要主题：翎毛鹤 ；次要主题：器用服饰（对人）斗笠

技法:

写意 人物衣纹描法(粗细线条) 

参考资料:

收藏着录： 秘殿珠林续编（干清宫），页248 收藏着录： 故宫书画录（卷五），第三册，页315 收藏着录： 故宫书画图录，第六册，页325-326 参考书目： 1.王耀庭，〈明吴伟仙踪侣鹤图〉，收入王耀庭、童文娥编，《长生的世界：道教绘画特展图录》（台北：国立故宫博物院，1996年初版），页78。 内容简介（中文）： 吴伟（西元一四五九至一五○八年），湖北江夏人。字士英，号鲁夫，更字次翁，又号小仙。幼年流落，曾佣工于钱昕家。后画名大着，宪宗时待诏仁智殿，孝宗时赐画状元印章。 吴伟画人物，出于吴道子，山水树石则自戴进来。此幅破笔焦墨，则是小仙本色。 内容简介（中文）： 吴伟（西元一四五九－一五○八年）湖北江夏人。字士英，号鲁夫，更字次翁，又号小仙。幼年流落，曾佣于钱昕家，后画名大着。宪宗时，待诏仁智殿。孝宗时，曾赐「画状元」印章。 本幅水墨画仙人携鹤，童子赤足荷笠，直往前行；仙人似闻鹤唳声，回头看鹤，二者作呼应状。本幅多用秃笔勾画，线条极具精神，又用淡墨晕染，笔墨简单而清雅。 内容简介（英文）： The Sage of the Northern Sea Riding a Crane Wu Wei (1459-1508) Ming Dynasty Wu Wei, style names Shih-ying and Tz’u-weng; sobriquets Lu-fu and Hsiao-hsien, was a native of Chiang-hsia, Hupei. A wanderer in his youth, he was at one time employed as a servant in the home of Ch’ien Hsin. Later he developed his talent as a painter. During the reign of the Ch’eng-hua Emperor (r. 1465-1488) he received the title of Painter-in-Attendance in the Jen-chih Hall. The Hung-chih Emperor (r. 1488-1505) gave him a seal which read “First among painters”. This painting depicts an immortal astrides a crane; an attendant stands beside him on a lotus branch. The immortal has turned his head to listen to the crane’s cry; gazing at one another the two seem to communciate. Wu has used a worn brush, achieving a vigorous line. For the contrasting washes he has employed very light ink. 内容简介（英文）： Immortals in the Company of A Crane Wu Wei (1459-1508) Ming Dynasty Wu Wei was a native of Chiang-hsia in Hopei. His style name was initially Shih-ying, but he later changed it to Tz’u-weng. His sobriquets were Lu-fu and Hsiao-hsien. A wanderer in his youth, for a while he worked at the home of Ch’ien Hsi. Later he became very well-known as a painter and during the Hsien-tsung reign (1465-1488) was called to the court as Painter-in-attendancd. Hsiao-tsung, the following emperor, bestowed on him a seal inscribed “First among Painters.” Wu Wei’s figure painting was in the tradition of Wu Tao-tzu, while his landscape style was derived from his near contemporary, Tai Chin. The use of ‘broken’ brush strokes and black, dry ink in this work represent a typical manner of his own.