书体:

色彩:

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅绢

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：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宝笈三编
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：吴彬；题跋位置：本幅；款识：吴彬；书体：行楷书；全文： 印记：吴彬之印、文中氏

主题:

技法:

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页2027 收藏着录： 故宫书画录（卷四），第二册，页234-235 收藏着录： 故宫书画图录，第十九册，页359-364 参考书目： 1.〈明吴彬月令图〉，收入国立故宫博物院编，《晚明变形主义画家作品展》（台北：国立故宫博物院，1977年九月初版），页172-174。 内容简介（中文）： 吴彬（活动于西元一五九一─一六四三年），莆田人。字文仲，又作文中。以书画擅名，佛像人物形状奇异，迥别前人。 本卷画一年中各份月的节庆活动，依序为元夜、蚕市、秋千、浴佛、端阳、结夏、中元、玩月、登高、阅操、大傩和赏雪。笔墨设色遒劲清丽，于文（文征明）派风味中，尚别创古拙的趣味，今之学者称之为「变形主义」之风。 内容简介（中文）： 吴彬（活动于西元十六世纪末），莆田人，字文仲，又作文中。以书画擅名，佛像人物形状奇异，迥别前人。自立门户，白描尤佳，山水布置绝不摹古，极为新奇。此卷画一年中十二月胜赏，笔墨设色遒劲清丽，虽有文派气息，却能蜕化形迹，自闢蹊径，奇拙之气溢乎褚纸。 本次展出者为七月至十二月之景：中元、玩月、登高、阅操、大傩和赏雪。 内容简介（英文）： Events of the Twelve Months Wu Pin (fl.1573-1619) Ming Dynasty Wu Pin (style name; Wen-chung) was a native of Pu-t’ien who lived during the Wan-li period (1573-1619). He was noted for both his painting and calligraphy. In figure painting he departed from tradition and set his own course. His plain-line (pai-miao) technique was considered particularly beautiful. In landscape compositions, as in figure painting, he established a new eccentricity. This handscroll repesents the enjoyments of each of the twelve months. The brushwork, use of ink, and coloring are strong and clear. Although Wu Pin was in the tradition of literati painting, he was able to transform his brushwork and create his own style exuding the fantastic. The leaves shown are as follows; The Ghost Festival-the 15th day of the 7th month; Enjoying the Moonlight on the Midautumn Festival-the 15th day of the 8th month; Ascending the Heights-the 9th day of the 9th month; Reviewing the Troops; Driving out Pests; and Enjoying the Snow. 内容简介（英文）： Events of the Twelve Months Wu Pin (fl. 1591-1643) Ming Dynasty Wu Pin (style name Wen-chung) was a native of P’u-t’ien. He was noted for his painting and calligraphy. His eccentric depictions of Buddhist figures established a new course in painting. In this handscroll, each of the monthly events associated with the lunar calendar are portrayed. They are, starting from the first month; 1) Yüan-hsiao Festival, 2) Silkworm Market, 3) Rope-swing in Spring, 4) Bathing the Buddha, 5) Dragon Boat Festival, 6) End of Summer, 7) Ghost Festival, 8) Mid-Autumn Festival, 9) Ascending the Heights, 10) Reviewing the Troops, 11) Driving out Pestilence, and 12) Appreciating the Snow. The brushwork, use of ink, and coloring are particularly strong and clear. Although Wu is painting in the tradition of Wen Cheng-ming (1470-1559), he has been able to create a uniquely archaic style which modern art historians have termed “transformational.”