| 基本資料 | 藏品類型 | 繪畫 |
| 文物統一編號 | 故畫003532N000000005 抽盤點紀錄 修護紀錄 | |
| 作品號 | 故畫00353200005 | |
| 品名 |
明人畫扇面 (乙) 冊 明陸治蘆岸水汀 Birds in an Autumn Field |
|
| 分類 | 繪畫 | |
| 作者 | 陸治 | |
| 數量 | 一幅 |
| 典藏尺寸 | 【位置】 | 【尺寸】(公分) |
| 本幅 | 17.2x51 |
| 質地 | 【質地位置】 | 【質地】 |
| 本幅 | 紙 |
| 題跋資料 | 【題跋類別】 | 【作者】 | 【位置】 | 【款識】 | 【書體】 | 【全文】 |
| 作者款識 | 陸治 | 本幅 | 包山陸治為□□先生寫 | 行楷書 | ||
| 印記： 包山子 | ||||||
| 印記資料 | 【印記類別】 | 【印記】 |
| 主題 | 【主題類別】 | 【主題(第一層)】 | 【主題(第二層)】 | 【主題說明】 |
| 其他主題 | 山水 | 溪澗、湍泉 | 溪澗 | |
| 主要主題 | 花草 | 蘆葦 | ||
| 其他主題 | 翎毛 | 鷺鷥 |
| 技法 | 【技法】 | 【技法細目】 |
| 寫意 | ||
| 雙鉤 |
| 參考資料 | 【類別】 | 【參考資料】 |
| 收藏著錄 | 故宮書畫錄（卷八），第四冊，頁164 | |
| 內容簡介（中文） | 以詩意入畫，在南宋山水小景中經常可見，陸治此幅屬於同一格調，達到詩情畫意自然契合的境地。畫面前景秋風吹動蘆草，透出荒野的氣息；中景一道溪流時隱時現，帶來清冷的感覺；遠處一片白茫茫，漠漠原野遙接天際，隱隱約約彷彿傳來鳥叫聲。陸治用精煉的手法處理畫面，畫幅雖小卻有伸展的餘地，著墨不多，卻見無畫處是畫的妙趣。 | |
| 內容簡介（英文） | The introduction of poetic sentiment into painting is often found in the intimate scenery of Southern Sung (1127-1279) landscapes. This work by Lu Chih falls into this category, creating a realm where nature, painting, and poetry fuse into one. In the foreground are reeds and grasses blowing in an autumn wind with an empty background behind. In between is a winding stream that appears and disappears from sight. The empty sky is punctuated by three birds, thus giving this work a touch of life. Lu Chih used his mature techniques of brush and composition to render this scene. Although small, it seems to go on forever. With only a few touches of ink and color, he was able to convey the feeling of reading a poem as well as a poetic touch. | |
| 內容簡介（中文） | 陸治（西元一四九六－一五七六年），江蘇蘇州人。字叔平，住在包山，因號包山子。以孝友著稱，好為詩及古文辭，善行楷，尤通繪事，遊祝允明、文徵明之門。其於繪畫，力求出奇致勝。工寫生，點染花鳥竹石亦頗能傳神，是明代有名的畫家。 蘆葦揚起，小溪曲迴，流水潺潺，濛濛天空，飛鳥一對，大有「湮波澹澹起；寒鳥悠悠下」詞境，取景近處逼在眼前，隨即推遠，一片虛空，對比手法也採自南宋人造境。本幅為「明人畫扇面乙」冊第五開。 | |
| 內容簡介（英文） | Lu Chih was a native of Soochow, Kiangsu province. His style name was Shu-p’ing; his sobriquet was Pao-shan-tzu. He was famous for his filial piety and loyal friendship. An accomplished poet, writer, painter and calligrapher, he was a student of such artistic luminaries as Chu Yun-ming (1460-1526) and Wen Cheng-ming (1470-1559). In his paintings he gave full play to his idiosyncratic style. He excelled at drawing from life, and his flower-and-bird and bamboo-and-rock paintings show a great sense of animation. Lu became a well-known Ming dynasty painter. Rushes and reeds are scattered about, a small stream twists and winds with flowing water beneath the misty air. The scene possesses the poetic quality “of mist rising quietly, and winter birds descending leisurely.” The focus of the scene is located in the foreground of the fan. As one’s eyes are cast back into the distance, one finds an empty space. The contrasting technique employed here was borrowed from the style of Southern Sung artists. This is the fifth leaf in the al-bum, Fan Paintings by Ming Artists. | |
| 參考書目 | 1.王耀庭、張華芝，〈明陸治秋原飛鳥〉，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81。 | |
| 收藏著錄 | 故宮書畫圖錄，第三十冊，頁192-195 |
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