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明吳偉仙蹤侶鶴圖 軸
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- 典藏尺寸本幅@#@68.7x39
- 質地本幅@#@紙
- 題跋資料作者款識@#@吳偉@#@本幅@#@江夏吳偉@#@行楷書
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@乾隆鑑賞@#@@#@鑑藏寶璽@#@秘殿珠林@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫@#@@#@鑑藏寶璽@#@秘殿新編@#@@#@鑑藏寶璽@#@珠林重定@#@@#@鑑藏寶璽@#@乾清宮鑑藏寶@#@@#@鑑藏寶璽@#@太上皇帝@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶
- 主題主要主題@#@佛道人物@#@神、仙@#@2人@#@@#@次要主題@#@翎毛@#@鶴@#@@#@次要主題@#@器用@#@服飾（對人）@#@斗笠
- 技法寫意@#@@#@人物衣紋描法(粗細線條)
- 參考資料收藏著錄@#@秘殿珠林續編（乾清宮），頁248@#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁315@#@@#@收藏著錄@#@故宮書畫圖錄，第六冊，頁325-326@#@@#@參考書目@#@1.王耀庭，〈明吳偉仙蹤侶鶴圖〉，收入王耀庭、童文娥編，《長生的世界：道教繪畫特展圖錄》（臺北：國立故宮博物院，1996年初版），頁78。 @#@@#@內容簡介（中文）@#@ 吳偉（西元一四五九至一五○八年），湖北江夏人。字士英，號魯夫，更字次翁，又號小仙。幼年流落，曾傭工於錢昕家。後畫名大著，憲宗時待詔仁智殿，孝宗時賜畫狀元印章。 吳偉畫人物，出於吳道子，山水樹石則自戴進來。此幅破筆焦墨，則是小仙本色。@#@@#@內容簡介（中文）@#@ 吳偉（西元一四五九－一五○八年）湖北江夏人。字士英，號魯夫，更字次翁，又號小仙。幼年流落，曾傭於錢昕家，後畫名大著。憲宗時，待詔仁智殿。孝宗時，曾賜「畫狀元」印章。 本幅水墨畫仙人攜鶴，童子赤足荷笠，直往前行；仙人似聞鶴唳聲，回頭看鶴，二者作呼應狀。本幅多用禿筆勾畫，線條極具精神，又用淡墨暈染，筆墨簡單而清雅。 @#@@#@內容簡介（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.@#@@#@內容簡介（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.
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