Drunken Woodcutter《醉樵图轴》

Wu Wei (1459–1508)

Wu Wei, courtesy name Shiying and aliases Ciweng, Lufu, and Xiaoxian, was a native of Jiangxia (now Wuhan, Hubei). As a prominent master of the “Zhejiang School” following Dai Jin, he was renowned for his expertise in figure and landscape painting. In his early years, Wu Wei’s style was meticulous and detailed, but in middle age, his work evolved into bold, vigorous brushwork that exuded freedom and expressiveness. He was later celebrated as the founder of the “Jiangxia School.”

“Drunken Woodcutter”

This painting captures the scene of a drunken woodcutter standing beneath a gnarled dead tree and an old cliff. The figure is portrayed in a moment of repose, having set down his load of firewood. With his hands clasped on his chest and his gaze cast sideways, the woodcutter’s posture conveys a relaxed, carefree attitude that reflects his inebriated state. Wu Wei’s masterful brushstrokes are bold and expressive, using concise techniques to depict the woodcutter’s character and demeanor with lifelike precision.

The composition’s long and narrow format suggests that it may have originally been part of a four-panel screen illustrating the traditional themes of “Fisherman, Woodcutter, Farmer, and Reader.” The woodcutter panel is the only one that remains, while the others have been lost over time. The painting is signed “Xiaoxian Painting” and features Wu Wei’s white seal reading “Wu Wei.”

Above the painting is an inscription with a poem by Gu Fangzhi, son of Gu Mingshi, the owner of Luxiang Garden in Songjiang (now Shanghai) during the late Ming Dynasty. The poem reads:
“The thatched house on the mountain has few neighbors, and the green pines are chopped for firewood.
Occasionally, when a fishy wind blows, I remember that there was someone who came with me.”

The poem is signed “Written by Gu Fangzhi, the Taoist priest of Cocoon,” and stamped with a white seal reading “Gushi Yanchu.” This indicates that the painting was appreciated or collected by Gu Fangzhi, adding historical and cultural significance.

Scholars have debated the identity of the poet. Some believe the inscription was created by Gu Fang, a painter from Songjiang during the Kangxi reign, due to a possible misreading of the name “Gu Fangzhi.” However, historical records confirm that Gu Fangzhi, courtesy name Yanchu and also known as Jiandaoren, was indeed the author of this poem. This makes the poem a rare and precious addition to the artwork, further enhancing its value.

This painting exemplifies Wu Wei’s ability to combine bold brushwork and expressive simplicity, capturing the woodcutter’s leisurely charm while reflecting the dynamic spirit of the Jiangxia School.

吴伟（1459－1508），字士英、次翁，号鲁夫、小仙，江夏(今湖北武汉)人，戴进之后的“浙派”健将，工人物、山水。画风早年比较工细，中年后变为苍劲豪放，笔墨纵横，后世尊为“江夏派”的创导者。

图中绘一醉酒樵夫立于枯树老崖之下，将柴担放在一边，双手抱于胸前，正在扭头斜望，将人物醉后的闲适懒散表现得淋漓尽致。此画用笔奔放，笔力遒劲，以简洁的手法刻画出人物的洒脱神韵，栩栩如生，充分体现了吴伟的画风和特色。另外，该作尺幅狭长，不似常见的单幅立轴那么宽阔，故原作可能为“渔、樵、耕、读”四条屏，樵夫这一条属于失群之作。款署“小仙画”，钤“吴伟”白文印。

上部诗堂有明代晚期松江（今上海）露香园主顾名世之子“顾昉之题诗，云：“茆屋山家少四邻，青松旋斫爨为薪。偶然几阵腥风起，忆得同来有一人。茧道人顾昉之题。”下钤白文“顾氏彦初”白文印。可知，此画应被其鉴赏或收藏过。顾氏书作罕见，此题诗颇为珍贵。另外有学者研究此画时，认为此题是康熙时松江（今上海）画家顾昉所作，乃是忽略了“昉”下的之字。即使看到，则“之题”亦文辞不通。其实文献中已有明确记载，顾昉之，字彦初，号茧道人。顾昉则字若周，未有彦初、茧道人的字号。