书体:

色彩:

设色

装裱形式:

册(推蓬装‧方幅式)

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：石渠宝笈
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

题跋资料:

题跋类别：作者款识；作者：吴彬；题跋位置：本幅；款识：元夜；书体：篆书；全文： 印记：吴彬之印、吴氏文中

主题:

主要主题：节令与二十四节气年节元夜主要主题：器用灯笼花灯；次要主题：山水夜景（月景）元夜；次要主题：建筑桥 ；次要主题：建筑城墙城门；其他主题：建筑寺庙 ；其他主题：山水春景一月；其他主题：山水江河、湖海 ；其他主题：人物仕女 ；其他主题：人物孩童 ；其他主题：人物侍从（侍女、童仆） ；其他主题：人物渔夫、船夫 ；其他主题：人物商贩 ；其他主题：人物货郎 ；其他主题：人物行旅 ；其他主题：人物百姓 ；其他主题：树木  ；其他主题：树木松 ；其他主题：建筑台阁 ；其他主题：建筑房舍 ；其他主题：建筑店舖 ；其他主题：建筑亭碑亭；其他主题：走兽马 ；其他主题：建筑牌楼 ；其他主题：走兽骡．驴 ；其他主题：走兽狗 ；其他主题：船帆船 ；其他主题：船篷舟 ；其他主题：器用仪仗（佛教宝盖）彩坛

技法:

工笔 界画 皴法 人物衣纹描法(匀称线条) 苔点 

参考资料:

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.〈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。 内容简介（中文）： 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。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。另如寺院浴佛、宅院置冰，也与明人生活逸事呼应。画中讲究远景配置，凸显辽阔景致，兼具月令岁时与佳景记胜特色。(20121018) 内容简介（中文）： 吴彬，万历（一五七三－一六一九）间，以书画闻名于世。福建莆田人，流寓金陵（今南京）。字文仲，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。 本幅画元宵夜景，城池市街，盛张灯彩。星桥火树，游人如织。一片元夜观乐之情。河中倒映月影，城根笼罩薄烟，写寒夜而极具匠心。 内容简介（英文）： Wu Pin’s painting depicts a nighttime scene of the Lantern Festival, which is held on the fifteenth day of the first month of the lunar calendar. The city’s streets and even moats are ablaze with lanterns; bridges sparkling and trees aglow, people are everywhere, merrymaking happily. Through the hoary haze that creeps along the city wall and the moonlight reflected in the river, the artist has masterfully communicated the coldness of the evening. Wu’s depictions of human figures were unconventional--even odd--and constitute a school of their own. The composition of his landscapes was extremely novel and unmannered. Wu Pin (whose style name was Wen-chung), a well-known artist of the Wan-li period (1573-1619), was originally from P’u-t’ien in Fukien, but later moved to Chin-ling (present-day Nanking). 内容简介（英文）： 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 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. In addition, the bathing of the Buddha at a temple and the storage of ice at a courtyard also 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.(20121018)