| 文物統一編號 |
故畫000564N000000000
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| 作品號 |
故畫00056400000 |
| 品名 |
明陸治畫榴花小景 軸
Intimate Scenery of Pomegranate Blossoms |
| 分類 |
繪畫 |
| 作者 |
陸治 |
| 創作時間 |
明穆宗隆慶四年（1570） |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
陸治
印記 expand_more
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本幅 |
隆慶庚午（西元一五七○年）天中節。包山陸治寫。 |
楷書 |
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| 印記類別 |
印主 |
印記 |
| 收傳印記 |
愛新覺羅永瑆 |
詒晉齋印 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清內府印 |
石渠寶笈 |
| 鑑藏寶璽 |
清內府印 |
宜子孫 |
| 鑑藏寶璽 |
宣統帝 |
宣統御覽之寶 |
| 鑑藏寶璽 |
宣統帝 |
宣統鑑賞 |
| 鑑藏寶璽 |
清高宗 |
乾隆御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆鑒賞 |
| 鑑藏寶璽 |
宣統帝 |
無逸齋精鑒璽 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶御覽之寶 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶鑑賞 |
| 鑑藏寶璽 |
清仁宗 |
寶笈三編 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
花草 |
石榴 |
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| 主要主題 |
花草 |
百合花 |
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| 主要主題 |
花草 |
菖蒲 |
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| 類別 |
參考資料 |
| 內容簡介 |
陸治（西元一四九六－一五七六年），江蘇吳縣人。字叔平，號包山子。為人孝悌好義，詩文書畫都很好，曾遊藝於祝允明、文徵明之門，畫風清雅，山水、花鳥都頗能出己意。 畫中百合、艾草、石榴並立而偃仰有致。花果以沒骨法為主，石榴點以硃砂，艾草染花青，百合則以墨寫。復均以墨筆鈎勒出骨架筋絡，用色古艷，筆墨相當寫意。
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| 內容簡介 |
陸治不僅長於山水畫，也能畫花鳥，所作花卉生意盎然，在吳派畫家中以能得宋人韻度，備受贊賞。此幅小景畫菖蒲、百合、石榴，兼用沒骨、鉤勒兩種方法，隨意鉤畫點染，構圖和設色均不落俗套，是陸治七十五歲老境成熟之作。畫作上方自題『隆慶庚午天中節，包山陸治寫』，天中節即是端午節，可知此為陸治應景之作。
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| Description |
Lu Chih not only specialized in landscape painting, but he was also a capable bird-and-flower painter. His flowers all are life-like and natural. Among Wu School artists, he was able to capture the harmony of Sung (960-1279) styles and was therefore admired. In this seemingly simple painting, Lu has rendered the tall calamus, lilies, and pomegranate in a combination of the outline and so-called “boneless” inkwash methods. He freely outlined, dotted, and washed the forms to create a painting that is elegant in both composition and coloring. Done in 1570 at the age of 74, Lu’s inscription at the upper left indicates it was done at the Dragon Boat Festival (on the 5th day of the 5th lunar month), thus making it a seasonal painting.
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| Description |
Lu Chih came from Suchou in Kiangsu. Although easy- going by nature, he had strong moral sense and was praised by his friends for his filial conduct. Equally skilled as a painter, calligrapher, poet and essayist, he once learned from Chu Yun-ming and Wen Cheng-ming. His landscape and flower-and-bird paintings show personal characteristics. Lilies, pomegranate blossoms and calamus display the “boneless method” of brushwork (brushing colors without ink outline). The application of colors is fine and delicate; the pomegranate blooms are high-lighted with red dotting, the calamus leaves are tinged with a pale blue hue, and the lilies are brushed in a variety of pure ink washes. The artist included hook-like ink accents to give structure to the composition. Lu Chih’s highly skilled use of brushwork and color successfully imparts the freshness of the bouquet.
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| 網頁展示說明 |
陸治（1496-1576），江蘇吳縣人。字叔平，號包山子。長於山水花鳥，所作花卉生意盎然。
此幅以折枝菖蒲、百合、石榴組合，石榴點以硃砂，用色古艷。菖蒲以花青寫成，百合則以墨筆鉤畫骨架筋絡，極具清逸雅淡之氣。此幅用墨濃淡相宜，設色俏麗鮮艷，雅妍相兼，構圖和設色均不落俗套，是陸治七十五歲老境成熟之作。畫上自題「隆慶庚午（1570）天中節，包山陸治寫。」天中節即是端午節，可知此為應景之作。(20110102)
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| 網頁展示說明 |
Lu Zhi, a native of Wuxian in Jiangsu, went by the style name Shuping and the sobriquet Baoshanzi. He excelled at painting landscapes and birds-and-flowers, his flowers being full of life.
This painting depicts stalks of calamus, lily, and pomegranate together. The pomegranate is rendered in cinnabar red for a very archaic yet beautiful color. The calamus is in cyanine blue, while the lily is done in brush and ink to outline the framework of veins, creating a pure and elegant atmosphere. The darkness of the ink here is also quite becoming, the colors bright and beautiful. Both refined and attractive, neither the composition nor the coloring conforms to convention, making this a mature work of Lu Zhi from the old age of 75 (by Chinese reckoning). At the top of the painting is the artist's signature: "Sketched by Lu Zhi, Baoshan, on the Tianzhong Festival of the gengwu year in the Longqing reign (1570)." Tianzhong is another name for the Duanwu (or Dragon Boat) Festival, perhaps indicating that this work was done on that occasion.(20110102)
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| 網頁展示說明 |
陸治（1496-1576）、江蘇吳県の人。字は叔平、號は包山子。山水、花鳥畫に長け、その手による草花は生気に滿ちている。
本作は手折られた菖蒲と百合、石榴（ザクロ）が描かれている。石榴は朱砂を用いて、古めかしくも艶やかな色彩で表現し、菖蒲は花青で、百合は墨で輪郭など全体が描かれ、清らかに澄んだ美しさが感じられる。墨の濃淡による表現もバランスがよく、華やかでありながらも上品な雰囲気が漂い、構図と著色もありきたりな表現に陥っておらず、陸治75歳─老境に至った陸治の熟達した畫技が見られる傑作である。畫中の自題は「隆慶庚午（1570）天中節、包山陸治写。」、「天中節」とは「端午節」を指すことから、端午の節句に合わせて描かれた作品だとわかる。 (20110102)
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| 收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁1998
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| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁421
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| 收藏著錄 |
故宮書畫圖錄，第八冊，頁13-14
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| 參考書目 |
1.王耀庭、張華芝，〈明陸治畫榴花小景〉，收入王耀庭、張華芝編，《明陸治作品展覽圖錄》（臺北：國立故宮博物院，1992年初版），頁78。
2.〈明陸治畫榴花小景 軸〉，收入譚怡令、劉芳如、林莉娜主編，《滿庭芳-歷代花卉名品特展》（臺北：國立故宮博物院，2010年十二月初版一刷），頁72-73。
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