館藏編號:PT06906200

吳文彬

尺寸:120×60 (畫心)

吳文彬（1924-2013），生於北平，台灣水墨畫家。幼年隨家人定居天津，曾與鄰居李喆學畫梅，後遷返北平，高中時與晏少翔學習工筆，1944年考入國立北平藝專國畫科就讀。1948年渡海來台。除役後，吳文彬陸續在電視公司與中研院工作，閒暇之餘仍創作不輟。1977年應邀與張大千、黃君璧、傅狷夫、季康、程芥子、江兆申、歐豪年等合作《以至仁伐至不仁圖》長卷，展於台北故宮。1989年籌組「中國工筆畫研究會」被推舉為會長，積極推動工筆畫在台灣的復興。1995年，台北市立美術館舉辦「吳文彬七十回顧展」，同年獲得全國畫學金爵獎。
吳文彬鑽研人物畫，他認為傳統中國畫以線捕捉人的姿態，並非基於寫實精神，而是「以形寫意」。吳氏精研工筆繪畫，認為畫工筆能夠培養務實精神，其美感自然呈現於意境之中。畫史探討方面，他認為工筆發展早於寫意，直至十世紀末以前，工筆畫仍為主流；元、明兩代以後，繪畫轉向「逸筆草草，不求形似」，工筆畫遂漸次式微。
這件作品以工筆手法描繪參天古松與樹下人物。松樹象徵人品德行，樹下三人瞻仰老樹，頗具古風。畫面以赭石、石青、石綠等重彩設色，松針、樹幹、石塊與人物等以精緻筆法鈎染上色，遠山與下方植物則以兼工帶寫手法表現。畫面結構完整有力，畫風溫潤厚實。（501字）

Wu Wen-Pin was a Taiwanese ink wash painter, born in Beiping (now Beijing), China. During his childhood, he lived in Tianjin with his family and studied plum blossom painting under his neighbor Li Che. Later, he returned to Beiping and, during high school, learned gongbi (meticulous brush technique) from Yan Shao-Hsiang. In 1944, he was admitted to the National Beiping Art College, majoring in traditional Chinese painting. In 1948, he relocated to Taiwan. After retiring from military service, Wu worked at a television company and the Academia Sinica, all while continuing to create art in his spare time. In 1977, he collaborated with Chang Dai-Chien, Huang Chun-Pi, Fu Chuan-Fu, Chi Kang, Cheng Chieh-Tzu, Chiang Chao-Shen, and Ou Hao-Nien on the long scroll painting “To Conquer the Unrighteous with the Utmost Benevolence,” which was exhibited at the National Palace Museum in Taipei. In 1989, he founded the Chinese Gongbi Painting Association and was elected as its president, actively promoting the revival of gongbi painting in Taiwan. In 1995, the Taipei Fine Arts Museum held the Wu Wen-Pin Seventieth Retrospective Exhibition, and in the same year, he was awarded the Golden Duke Award for National Painting Studies.

Wu specialized in figure painting, believing that traditional Chinese painting captures human postures through lines, not based on realism but on the principle of “depicting meaning through form.” He was highly dedicated to gongbi painting, regarding it as a discipline that fosters practical precision, with its beauty naturally emerging through artistic conception. In terms of art history, he argued that gongbi painting predates xieyi (freehand brushwork) and remained dominant until the late 10th century. However, from the Yuan and Ming dynasties onward, painting shifted toward “spontaneous brushwork with little concern for form,” leading to the gradual decline of gongbi painting.

This artwork is executed in gongbi technique, depicting a towering ancient pine tree with figures beneath it. The pine tree symbolizes moral integrity, while the three individuals gazing up at the tree evoke a classical aesthetic. The artist employs rich mineral pigments, including ochre, malachite green, and azurite, to create a vibrant composition. The pine needles, tree trunks, rocks, and figures are meticulously outlined and colored using fine brushwork, while the distant mountains and lower vegetation are rendered with a combination of gongbi and xieyi techniques. The composition is structured and powerful, while the painting style remains warm and full-bodied, embodying a sense of grandeur and refinement.

典藏單位:國立中正紀念堂管理處