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色彩:

装裱形式:

册(推蓬装‧方幅式)

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本幅纸

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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：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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：干清宫鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺

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收藏着录： 石渠宝笈续编（干清宫），第一册，页433 收藏着录： 故宫书画录（卷六），第四册，页63 收藏着录： 故宫书画图录，第二十三册，页70-75 参考书目： 1.国立故宫博物院编辑委员会，〈明吴彬岁华纪胜图〉，收入国立故宫博物院编辑委员会编，《界画特展图录》（台北：国立故宫博物院，1986年初版），页62-63。2.〈明吴彬岁华纪胜〉，收入国立故宫博物院编辑委员会编，《园林名画特展图录》（台北：国立故宫博物院，1987年十月初版），页76-77。3.〈明吴彬岁华纪胜〉，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186。4.〈明吴彬岁华纪胜元夜〉，收入国立故宫博物院编辑委员会编，《春景山水画特展图录》（台北：国立故宫博物院，1987年一月初版），页51。5.何传馨，〈明吴彬结夏〉，收入何传馨、许郭璜编，《夏景山水画特展图录》（台北：国立故宫博物院，1991年七月初版），页106。6.林莉娜，〈明吴彬岁华纪胜图〉，收入林莉娜编，《秋景山水画特展图录》（台北：国立故宫博物院，1989年十月初版），页79-80。7.刘馥贤，《吴彬《岁华纪胜图》册之研究》，国立师范大学美术研究所硕士论文，2007年。8.陈韵如；〈明吴彬岁华纪胜图　册〉，收入何传馨主编，《状奇怪非人间　吴彬的绘画世界》（台北：国立故宫博物院，2012年十月初版），页104-163。 内容简介（中文）： 吴彬，活动于明万历十九年（一五九一）至崇祯十六年间（一六四三），福建莆田人，流寓南京，后以善画，被召为中书舍人，深获神宗赏赐。曾远游西蜀，目睹剑门、峨眉、岷山诸大山川之雄奇。中晚期以后，画山水喜以夸张手法，强调山峦峻削雄伟之感。 本册共十二幅，分写一年中各月份的节庆活动。幅中景物，多着意变形，饶有奇趣。如画人物，外形肖似陶偶；画树则矮圆，且枝干转折灵动。故通体结构虽不尽眞实，但分物细看却处处变化，诚属吴彬极精之作。 内容简介（中文）： 吴彬，字文仲，福建莆田人，流寓金陵（今南京）。万历（一五七三－一六一九）间，以书画闻名于世。所绘人物，形状奇特，不同于前人，自成一家。山水画布置亦极新奇而不摹古。 本册共十二幅，描绘一年当中的各种节庆活动。幅中景物，多着意变形，饶有奇趣。画中人物，外形肖似陶偶；画树则矮圆，且枝干转折灵动。通体结构虽不尽眞实，但细看却处处变化，堪称吴彬的极精之作。(20100101) 内容简介（英文）： Wu Bin (style name Wenzhong) was a native of Putian, Fujian, who resided in Jinling (modern Nanjing). He became famous for painting in the Wanli reign (1573-1619), his figures noted for their eccentric manner different from the ancients and in his own style. His landscape arrangements are also very innovative and not mere imitations of old styles. This album of twelve leaves depicts various activities of the lunar calendar. The scenery is mostly inventive and distorted for a truly strange manner. The figures are all like ceramic statues, while his trees are short and rounded with contorted and writhing branches. Although the structure is not quite natural, each detail is rendered with subtle transformations, making this a masterpiece of Wu’s painting.(20100101) 内容简介（英文）： Wu Pin was a native of P’u-t’ien, Fukien province, but lived mainly in Nanking. His artistic talents brought him a position in the Secretariat, and his works were much admired by the emperor Shen-tsung (r. 1573-1620). Wu Pin travelled to western Szechwan, where he visited the magnificent and unusual scenery of Mount O-mei, Sword-pass Mountain, and Mount Min. In his later landscapes, he liked to depict equally unusual, awesomely precipitous mountain ranges modelled in an exaggerated style. This album, composed of twelve leaves, depicts the festivals of each month of the year. Wu Pin has used his conception of “supra-realistic” form, giving the scenery a rather strange appearance. For example, his figures resemble ceramic statues, but his forests, comprised of short, rounded trees with branches emerging nimbling from the trunks, almost move with life. Wu Pin’s compositions do not look realistic, but each individual element has been carefully painted and reveals subtle changes. This album is truly one of Wu Pin’s masterpieces. 网页展示说明 此册描写一年十二胜景，于篆书标题下皆有吴彬钤印。前期展出元夜、秋千、蚕市、浴佛、端阳、结夏等六幅，后期展出中元、玩月、登高、阅操、赏雪、大傩等六幅。画中景物细腻生动，山林造型奇特、设色淡雅，显出纤丽巧态。以时序活动为主题，构景多描绘江南景观。如元夜景中有城墙、门楼、鳌山灯等，与南京城景关系密切；登高景中有山形奇特，学者推测为南京近郊牛首山。另如寺院浴佛、宅院置冰、玩月、阅操、赏月等，皆能与明人生活逸事呼应。画中讲究远景配置，凸显辽阔景致，全册兼具月令岁时与佳景记胜特色。(20121018) 网页展示说明 This album includes beautiful scenes associated with each of the twelve lunar months. Below the titles in seal script are impressions of Wu Bin's seals. The first part of the exhibit presents six paintings for the first half of the year: the Lantern Festival, playing on a swing, the silk market, bathing the Buddha, the Dragon Boat Festival, and the end of summer. The second part presents six for the latter half of the year: the Ghost Festival, appreciating the moon, ascending the heights, reviewing troops, enjoying the snow, and dispelling evil spirits. The scenery in the paintings is delicate and animated, the mountain forests unusual in form with coloring light and elegant, reflecting fine beauty and a skillful manner. The themes are arranged chronologically against the backdrops of Jiangnan scenery. The Lantern Festival, for example, features scenery associated with a city wall, gateway, and ornamental "lantern mountain," which are closely related to the city of Nanjing at the time. Ascending the heights reveals unusual mountain scenery, which scholars associate with Oxhead Mountain on the outskirts of Nanjing. In addition, the bathing of the Buddha at a temple, the storage of ice at a courtyard, appreciating the moon, reviewing troops, and enjoying the snow all correspond to anecdotes in Ming dynasty life. The emphasis placed on distant scenery creates an expansive effect, combining records of the year with beautiful scenery. Thus, the album combines records of the year with scenic local sites.(20121018) 网页展示说明 本册には一年十二景が描かれており、篆书による标题の下に呉彬の落款がある。前期は「元夜」、「秋千」、「蚕市」、「浴仏」、「端阳」、「结夏」六幅、后期は「中元」、「玩月」、「登高」、「阅操」、「赏雪」、「大傩」六幅を展示する。丁宁に描かれた画中の景物はどれも生き生きとしている。山林の特殊な造形、淡く品のよい着色など、繊细な美しさが感じられる。季节の行事を主题とし、その多くに江南の景観が描かれている。「元夜」には、南京の町の风景ならではの城壁や门楼、鳌山灯などが描かれている。「登高」に描かれた奇妙な形の山は、南京近郊の牛首山ではないかと推测されている。このほか、寺院の浴仏会、庭での氷保存、月见、阅兵、雪见など、どの作品も明人の暮らしの一出に呼応している。远景の配置にこだわったと见られ、大きく开けた眺めが际立っている。全册を通して见ると、季节ごとの行事や佳景のよい记录にもなっている。