| 基本資料 | 藏品類型 | 繪畫 |
| 文物統一編號 | 故畫003538N000000011 抽盤點紀錄 修護紀錄 | |
| 作品號 | 故畫00353800011 | |
| 品名 |
明人便面畫冊（二） 冊 明陸治秋卉 Memories of Autumn |
|
| 分類 | 繪畫 | |
| 作者 | 陸治 | |
| 數量 | 一幅 |
| 典藏尺寸 | 【位置】 | 【尺寸】(公分) |
| 本幅 | 17.6x48.2 |
| 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 | 燈前曾識春風面。別后空懷落月情。忽訝石欄生別態。秋來翻覺旅魂驚。陸治。 | 行楷書 | ||
| 印記： 陸氏叔平、陽城書屋 | ||||||
| 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】 |
| 主要主題 | 花草 | 玉簪花 | ||
| 次要主題 | 花草 | 海棠（草）秋海棠 |
| 技法 | 【技法】 | 【技法細目】 |
| 寫意 | ||
| 沒骨 |
| 參考資料 | 【類別】 | 【參考資料】 |
| 收藏著錄 | 石渠寶笈初編（養心殿），上冊，頁498 | |
| 收藏著錄 | 故宮書畫錄（卷八），第四冊，頁165 | |
| 內容簡介（中文） | 本幅寫意花卉以玉簪花為主體，海棠作陪襯，也是陸治長年觀察植物生態 之後的佳作。玉簪花期在夏秋之間，因此可以海棠相配；而潔白的玉簪襯以海棠紅花，在色感上也有相得益彰的效果。構圖以玉簪取正向，海棠側出，前後大小賓主分明，均是陸治細心安排的格局。筆觸自然灑脫，精微處也不落刻意痕跡，當屬陸治老境成熟之作。 | |
| 內容簡介（英文） | This painting in the “sketching ideas” manner takes the tuberose as the focus of attention and also includes a branch of crab apple behind it. This small but marvelous work reflects Lu’s years of experience in observing the look and growth of flowers and plants. The tuberose blossoms in late summer and early autumn, thus accounting for its appearance here with crab apple blossoms. The slender, pure tuberose contrasts with the stubby reddish crab apple blossoms. The brushwork is natural and pure. Though detailed in places, it is not stiff and thus a masterpiece of Lu’s later years. Furthermore, in his poem at the right, he sings the praises of tuberose in moonlight, expressing desire that it remain at his side forever. | |
| 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。玉簪一株，旁襯以海棠。畫家遺興，隨意點染，但色彩筆墨，皆溫文儒雅。陸治詩中詠玉簪者多首，錄一首以為詩畫共賞。「昔本釵頭玉，今為枝上花，只愁明月夜，非去復還家」。本幅為「明人便面畫冊（二）」冊第十一開。 | |
| 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. A tube rose stands next to a crab-apple tree. As an expression of his emotion, Lu randomly applied wash to depict a flower, but the ink, colors, and brushstrokes are still soft and elegant. Lu composed many poems which mention the tube rose. The word yu-tsan is the name of the tube rose, but is also an ancient word for a jade hairpin. Lu utilized this homophone as a pun and composed a poem in which both verse and painting could be appreciated together. “In acient times the head of a hairpin was made of jade, and now it is made of a flower on a branch. At night under a bright moon, I am only concerned that you (the rose/hairpin) do not disappear, that you maintain your true essence, and that you forever remain at my side.” | |
| 參考書目 | 1.王耀庭、張華芝，〈明陸治秋憶圖〉，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80。 | |
| 收藏著錄 | 故宮書畫圖錄，第三十冊，頁218-223 |
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