《歌舞图》轴，明，吴伟绘，纸本，墨笔，纵118.9cm，横64.9cm。
无作者款识。右下角钤“小仙吴伟”朱文方印。画幅上方有明祝枝山、唐寅、九华遗士、金庭居士、七一居士、髯九翁六家题。钤祝枝山“允明”、唐寅“唐伯虎”等印及清内府鉴藏印“乾隆御览之宝”、“御书房鉴藏宝”、“石渠宝笈”、“宣统御览之宝”等，共计10方。
此图真实地反映了文士狎妓观舞的场景。狎客们与二女妓围坐一周，神态各异。狎客或侧首细品，或低头凝视，或举目静观，或捻须沉思。陪坐的女妓或机械地执板伴奏，或心不在焉地笼袖而坐，与狎客们专注的神情形成鲜明的对比。据画幅上唐寅墨款“吴门唐寅题李奴奴歌舞图，时弘治癸亥三月下旬，李奴奴十岁”可知，圈中翩翩起舞者是年方满10岁、但已为妓数载的李奴奴。明代是青楼业昌盛的时期，一方面资本主义萌芽逐渐兴起，都市经济日益壮大，商品市场迅速成长，为青楼业的生存和发展提供了广阔的空间；另一方面，腐败的明政府实行罚良为娼的政策，并在金陵(即南京)官办著名的十六楼(妓院)：南市、北市、鹤鸣、醉仙等，促使包括李奴奴在内的众多女子在遭遇各种生活的不幸后沦落青楼而成为玩物。鉴于青楼文化的兴盛，吴伟、唐寅等许多极富才情、仕途失意的画家纷纷饮酒狎妓，试图通过游妓来摆脱失意的郁闷和伦理的负担，获得心理的平衡与精神的松弛。他们对于自己的放浪行为并不加以掩示，唐寅自刻“江南第一风流才子”印章及吴伟所创作的此图，都意在表明自己以游妓为荣耀、玩世不恭的人生观。
此图为吴伟45岁时所作。在表现技法上与《武陵春图》相近，属于细笔白描人物画。构图简约明了，主体人物突出，无繁复的景致烘托，仅通过人物生动的情态举止及其间的相互呼应抒发出富有生活情趣的诗意。
清内府《石渠宝笈》著录。
--------Introduction in English--------
"Song and Dance Pictures" axis, Ming Dynasty, Wu Wei Painting, paper, ink, 118.9 cm vertical, 64.9 cm horizontal.
No author knows. Zhu Wenfang Seal of Xiaoxian Wuwei in the lower right corner. Above the painting are six themes: Mingzhu Zhishan, Tang Yin, Jiuhua Remainers, Jinting Residents, Qiyi Residents and Shadow Jiuweng. The stamps of "Yunming" in Junzhu Zhishan and "Tang Bohu" in Tangyin as well as "Qianlong Imperial View Treasure", "Imperial Study Treasure", "Shiqu Treasure" and "Xuantong Imperial View Treasure" in the Qing Dynasty are totally 10 square meters.
This picture truly reflects the scene of literati prostitutes watching dances. The prostitutes sat around with two prostitutes for a week with different attitudes. Lucky guests or side-headed fine articles, or stare down, or raise their eyes quietly, or twist their whiskers to meditate. The female prostitutes who accompany them are mechanically accompanied or absent-minded, which contrasts sharply with the godly situation in which the guests are attentive. According to the painting, "Wumen Tang Yin inscribed Li Nunu singing and dancing picture, when Hongzhi Guihai was in late March, Li Nunu was ten years old", we can see that the dancers in the circle were Li Nunu who was 10 years old but had been prostitutes for several years. The Ming Dynasty was a period of prosperity of the Qinglou industry. On the one hand, capitalism sprouted gradually, the urban economy grew stronger and stronger, and the commodity market grew rapidly, which provided a broad space for the survival and development of the Qinglou industry. On the other hand, the corrupt Ming government implemented the policy of punishing good for prostitution, and set up a famous 16th floor brothel in Jinling (Nanjing): Nanshi, Beisheng, Heming, drunk fairy, etc. Many women, including Li Nunu, were reduced to green houses and became playthings after suffering various misfortunes in their lives. In view of the flourishing of Qinglou culture, many painters such as Wu Wei and Tang Yin, who are highly talented and frustrated in their official career, have been drinking and prostituting, trying to get rid of the depression and ethical burden of frustration and achieve psychological balance and spiritual relaxation by traveling prostitutes. They did not conceal their wandering behavior. Tang Yin carved the seal of "the first talented man in the south of the Yangtze River" and Wu Wei created this picture to show his glorious and cynical outlook on life with traveling prostitutes.
This picture was made by Wu Wei when he was 45 years old. The technique of expression is similar to "Wuling Spring Picture", which belongs to fine brushwork figure painting. The composition is concise, the main characters are prominent, and there is no complicated scenery to set off, only through the vivid modality and behavior of the characters and their mutual echoes to express the poetic flavor of life.
The description of Shiqu Baodu in Neifu of Qing Dynasty.
