吳彬為莆田人，生卒年不詳，活動於明代萬曆朝前後。他雖是一位畫史記錄有限的畫家，但其畫作風格表現奇譎變幻，無論山水畫、佛教人物畫多有造型奇趣。根據明人文集資料分析其交往活動，可知吳彬具有居士身分。本文即在探討此一居士身分與其畫風的關連。本文首先從文獻分析，重建吳彬的居士身分，其次增補這些活動與相關佛教題材畫作之製作脈絡關係。接著，本文將試圖思考此一居士身分與其山水畫風表現之可能關連。整體而言，吳彬的繪畫成果與晚明的居士文化關係密切，本文旨在凸顯吳彬作品不分題材，都可能受到其居士身分影響，而經過這一居士身分的解析，冀能促成吾人對吳彬獨特畫風的不同掌握。

Wu Bin was born in Putian, Fujian, active mainly during the reign of Emperor Wanli (1573-1620). Although the life of Wu Bin is rather obscure, the eccentric and fantastic style of his landscape and Buddhist figure paintings was greatly admired. Through the study of anthologies in Ming dynasty, we found Wu Bin was actually a Buddhist devotee who became a layman painter. This paper aims to illustrate the relationship between Wu Bin as a layman painter and his fantastic realm of painting. To begin with, this paper would reconstruct Wu Bin as a Buddhist devotee from textual records, supplementing the context of related Buddhist figure paintings. Secondly, the author would like to ponder on the possible connection between Wu Bin's landscape painting and his Buddhist beliefs. In short, the painting of Wu Bin is deeply rooted in the culture of late Ming Buddhism. The importance of his religious belief cannot be emphasized too much, therefore a key to the understanding of his eccentric painting.