| 文物統一編號 |
故畫002242N000000000
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| 作品號 |
故畫00224200000 |
| 品名 |
明陸治端陽佳景 軸
Beautiful Scenery on the Duanwu Festival |
| 分類 |
繪畫 |
| 作者 |
陸治 |
| 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
|
本幅 |
葵榴花下自稱觴。南極星輝滿華堂。況是江南多勝事。朱明佳節正端陽。懷親杜隱君七十。包山陸治題贈。 |
草書 |
|
|
|
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
|
清白之遺 |
| 收傳印記 |
|
陳履平印 |
| 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 |
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 |
山水 |
奇石 |
|
| 主要主題 |
花草 |
蜀葵 |
|
| 主要主題 |
節令與二十四節氣 |
端午 |
|
| 次要主題 |
花草 |
|
山丹
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| 次要主題 |
花草 |
石榴 |
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| 次要主題 |
花草 |
靈芝 |
|
| 類別 |
參考資料 |
| 內容簡介 |
此幅沒骨花卉構思可能來自園中一景，斜坡自左方向右延伸，以太湖石穩定重心。蜀葵花安置在石前，石榴花出枝在石後，再以山丹、靈芝陪襯補空。畫面賓主次第分明，用色艷而不俗，筆墨構圖和陳淳（一四八三－一五四四）近似，卻沒有陳淳放恣的氣息。其中自然優雅的韻味，正是沈周（一四二七－一五O九）、文徵明（一四七O－一五五九）以來吳派畫家共同追求的格調。
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| 內容簡介 |
陸治（西元一四九六－一五七六年），吳縣人。字叔平，號包山子。倜儻好義，以孝友稱。詩文書畫並工。嘗遊文衡山、祝枝山之門，畫名幾與衡山相垺。
設色畫，恰如園中一角，主景以蜀葵居中，背面太湖石，左方石榴穿出，兩旁則配以山丹、靈芝，主景雖居中，坡則斜下，加以石榴之橫出，使構圖穩重之主景外，又有斜向動態，不致刻板。本幅畫各種花卉，幾乎全部以色墨點染，並無鉤線，畫石雖見用筆，能將沉靜與活潑集於一畫中是其特色，畫法學自文徵明，三行款題書法亦是。
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| 內容簡介 |
陸治(1496-1576)，明代江蘇吳縣人。字叔平，號包山子。倜儻好義，以孝友稱。詩文書畫並工，山水、花鳥頗能出己意。
本幅設色畫園中一角，畫面賓主次第分明，用色艷而不俗。主景以蜀葵居中，背面湖石後有石榴花穿出，均為夏日端午前後盛開的花卉。兩旁配以山丹、靈芝，花卉幾乎全部以色墨點染，並無鉤線。雖然主景居中，構圖穩重，斜下的山坡與橫出的石榴卻為畫幅添加了斜向動態，不致刻板。(20110102)
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| Description |
Lu Zhi (style name Shuping, sobriquet Baoshanzi) was a native of Wuxian in Ming dynasty Jiangsu. Unconventional yet righteous, he was famous for his filialty and friendship. He was also gifted at poetry, calligraphy, and painting, his landscape and bird-and-flower subjects in the latter standing out in particular.
This work done in ink and colors depicts the corner of a garden setting with the primary and secondary roles of motifs clearly indicated. The colors are also beautiful yet not gaudy. The main motif is a couple of hollyhock plants in the center with a garden rock behind them complemented by pomegranate blossoms. Both of these plants come into full bloom around the Duanwu (or Dragon Boat) Festival. On either side is morningstar lily and spirit fungus, the flowers appearing to have been done completely in washes of ink and colors without outlining. Although the main subject is centered and the composition stable, the slope of the ground and angle of the pomegranate in the picture add diagonal forces that enliven the arrangement.(20110102)
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| Description |
Lu Chih was a native of Soochow, Kiangsu province. His style name was Shu-p’ing; his sobriquet was Pao-shan-tzu. Lu excelled in poetry, classical prose, calligraphy and painting. A friend of Wen Cheng-ming (1470-1559) and Chu Yun-ming (1460-1526), his paintings were almost as famous as those of Wen Cheng-ming.
This colorful painting resembles a corner of a garden, with a solitary sunflower in the center. In the background is a T’ai-hu rock, and on the left, a pomegranate peeks out. On either side complementing the scene are a lily and a fungus said to possess supernatural powers. Although the main scene is situated in the middle, the composition slopes downward to the right. With the protruding pomegranate, the otherwise steady composition possesses an additional sense of movement which lifts it beyond monotonous static scenes.
The great variety of flowers and plants depicted here were almost all executed by means of applying color and ink as wash without outlines. Although the brushstrokes of the rock are visible, the effect is one that is calm and quiet, yet lively, a special feature of Lu’s painting. His style follows Wen Cheng-ming’s, as does his calligraphy in the three line inscriptions executed in semi-cursive script on this work.
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| Description |
This painting of rocks and flowers done in the “boneless” inkwash method perhaps was inspired by a scene from Lu Chih’s garden. On a slope extending down from the left is a scene anchored by a decorative Lake T’ai rock. Hollyhock grow in front of the rock as pomegranates blossom on a branch that extends from the left to behind the rock. The scene is complemented by spirit fungus by the rocks and lily behind the main rock and slope. The arrangement of main and secondary elements is clear, and the coloring elegant. The brushwork and composition are similar to those of Ch’en Ch’un but without his abandon. Thus, the harmony between nature and elegance here is what artists such as Shen Chou and Wen Cheng-ming also sought.
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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（卷八），第四冊，頁83
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| 收藏著錄 |
故宮書畫圖錄，第八冊，頁31-32
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| 參考書目 |
1.王耀庭、張華芝，〈明陸治端陽佳景〉，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79。
2.譚怡令 ，〈明陸治端陽佳景〉，《故宮文物月刊》，第3期（1983年6月），封底裡。
3.〈明陸治端陽佳景 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40-41。
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