书体:

色彩:

水墨

装裱形式:

轴

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：养心殿鑑藏宝
鑑藏宝玺：石渠宝笈
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：小僊笔；书体：行书；全文： 印记：小仙吴伟

主题:

主要主题：山水冬景（雪景）雪景主要主题：树木寒林．枯树 ；次要主题：山水瀑布 ；次要主题：建筑桥 ；其他主题：器用文玩（琴棋书画）琴；其他主题：器用服饰（对人）斗笠；其他主题：树木  ；其他主题：山水山径 

技法:

写意 皴法 皴法斧劈皴人物衣纹描法(粗细线条) 苔点 

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页660 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327-328 内容简介（中文）： 吴伟（西元一四五九－一五○八年），湖北武昌人。字士英，号鲁夫，又号小仙。幼年孤贫，流落到江苏常熟，被进士钱昕所收养，后来渐以善画而闻名，并为宫廷作画。擅绘人物、山水。 一片银白的寒雪，辉映在惨淡的天空。溪旁，一人带着童子正要过桥，畏寒缩瑟的样子，描写得栩栩如生。全幅以大笔挥洒而成，有粗率豪迈的感觉，但笔法的运行却粗细有致。 内容简介（中文）： 吴伟（西元一四五九至一五○八年），江夏人（湖北武昌）。字士英，号鲁夫，又号小仙。幼年流落，曾佣工于钱昕家。后渐以善画而闻名。宪宗时，为仁智殿待诏。 是幅山水大笔淋漓，不取碎景，故气魄雄伟。用墨层次井井，能于澹里求浓，故鲁莽之中，不乏雅韵。惟此等画总以骋技矜能为尚，盖亦一时习气使然。 内容简介（英文）： Wu Wei (1459-1508) was a native of Wu-ch’ang, Hupei. His style names were Shih-ying; his sobriquets were Lu-fu and Hsiao-hsien. As a youth Wu Wei traveled from place to place, once working as a servant in the home of Ch’ien Hsin. Later Wu Wei’s paintings became famous. During the reign of Emperor Hsien-tsung (1465-1487), he served as Painter-in-Attendance in the Jen-chih Hall. Using a large and extremely moist brush, Wu Wei did not seek to define minor details. Consequently the spirit of the landscape is a masterful one. The use of layer upon layer of ink enabled the artist to achieve a wide variety of tones even with pale inks so that he did not lack refinement even when most casual. This type of painting must always depend upon the utmost exertion of artistry; but Wu Wei’s style was also influenced by the taste of his time. 内容简介（英文）： 1.〈明吴伟寒山积雪图〉，收入陈阶晋、赖毓芝主编，《追索浙派》（台北：国立故宫博物院，2008年初版一刷），页182。2.林莉娜，〈明吴伟寒山积雪〉，收入林莉娜、张华芝编，《冬景山水画特展图录》（台北：国立故宫博物院，1989年元月初版），页62-63。3.胡赛兰，〈巨幅名画特展〉，《故宫文物月刊》，第118期（1993年1月），页48。 内容简介（英文）： Wu Wei (1459-1508), a native of Hupei, was orphaned as a youth and settled in Ch’ang-shu, Kiangsu province. He was thereupon taken in by the scholar Ch’ien Hsin. Later, Wu Wei became famous as a painter, and he even served as a court artist. He excelled at painting figures and landscapes. Here, silvery white snow shines against the dark and brooding sky. By the side of a stream, a man and his servant are about to cross the bridge. They huddle against the cold, making for a naturalistic scene. Using a large and extremely moist brush, Wu Wei achieved a sense of unrestrained freedom. He was also able to achieve a balance between rough and fine brushwork to bring out the best of both in this work. 网页展示说明 吴伟（西元一四五九－一五Ο八年），字士英，又号小仙，湖北武昌人。善画山水、人物，是继戴进（一三八八－一四六二）之后浙派最重要的画家。成化、弘治间任职内廷，受赐为「画状元」。本幅画白雪遍盖山丘之景，落笔极见雄强奔放，兼采飞白墨线与留白法，成功营造出严冬中枯寒、寂寥与荒率的意境。画中躬着身躯、瑟缩前行的策杖高士，努力抵挡寒风吹袭，彷彿也呼应了在逆境前行的喻意。(20110712) 网页展示说明 Wu Wei (style name Shiying, sobriquet Xiaoxian) was a native of Wuchang in Hubei. He excelled at painting figures and landscapes. After Dai Jin (1388-1462), he was the most important Zhe school painter. During the Chenghua and Hongzhi reigns, he served at the court and was awarded the title "First in Painting."This work depicts a scene of mountains covered with snow, the brushwork extremely strong and unrestrained, and the "flying white" broken ink lines and method of using blank areas effectively creating the idea of a realm of withered forests in a severe winter along with desolation and bleakness. The bent and huddled figure of the lofty scholar holding a staff makes his way along as he strives against the gusts of cold wind, as if echoing the metaphor of proceeding despite adversity.(20110712) 网页展示说明 呉伟（1459-1508）、字は士英、号は小仙、湖北武昌の人。山水と人物画を善くした。戴进（1388-1462）に続く、浙派の最も重要な画家。成化、弘治年间に内廷に出仕し、「画状元」の印を赐った。本作には真っ白な雪に复われた山地の风景が描かれている。雄强奔放な笔遣いがはっきりと见て取れ、飞白（かすれた线）の墨线と馀白を残す技法も合わせて取り入れて、厳冬の寒々しい风景や寂寥感、荒凉とした雰囲気が见事に表现されている。画中には寒さに身を缩めながら身をかがめ、杖をつきつき歩く高士の姿が见える。吹きつける寒风に耐えるその様子は、逆境に负けずに前进することを示しているかのようである。(20110712)