明陸治花谿漁隱 軸
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- 資料識別：
- 故畫000561N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 陸治
- 主題與關鍵字：
- 瀑布 漁夫、船夫 山徑 溪澗、湍泉 江河、湖海 高士（士人、隱士） 百姓 桃花 水榭 房舍 橋 帆船 篷舟 耕織漁獵
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明穆宗隆慶二年（1568）
- 格式：
- 本幅 119.2x26.8公分、本幅 54公分
- 關聯：
- 石渠寶笈石渠寶笈續編（延春閣），第四冊，頁2007 &*故宮書畫錄（卷五），第三冊，頁419-420 &*故宮書畫圖錄，第八冊，頁7-8&*1.王耀庭，〈明陸治花谿漁隱〉，收入王耀庭編，《淵明逸致特展圖錄》（臺北：國立故宮博物院，1988年初版），頁104。 2.王耀庭、張華芝，〈明陸治花谿漁隱〉，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72。 3.〈明陸治花谿漁隱〉，收入國立故宮博物院編輯委員會編，《春景山水畫特展圖錄》（臺北：國立故宮博物院，1987年一月初版），頁51。 4.王耀庭，〈桃花源與花谿漁隱〉，《中華民國建國八十年中國藝術文物討論會論文集 書畫(上)》（臺北：國立故宮博物院，1992），頁279-305。 &*描繪漁隱自在的生活是元人繪畫中常見的題材，有的寓含豐富的人生哲理，也有的暗示畫家個人找到了安身立命的方向。陸治五十幾歲開始隱居生活，在藝術領域中不斷地淬煉自己，不但沒有從此斷絕人事，反而拓展人生另一片天地。此畫作於七十三歲，融合文徵明、王蒙的構圖和筆法，可能是陸治隱居生活的縮影，卻也可能已經美化，託付陸治對理想的追尋。&*The leisurely life of the fisherman-recluse was common in Yüan (1279-1368) paintings. Some reveal the trend of the time, while others reflect individual artists’ quest for peace and seclusion. From the age of around 50, Lu Chih chose a life of reclusion, and in art he honed his ideas and skills. Reclusion, however, did not mean cutting himself off from society, but rather opening a new world of art and relations. This work was done in 1568 at the age of 72 and combines the composition and brushwork of Lu’s teacher Wen Cheng-ming and Wang Meng (1308-1385), whose artistic quest for the Peach Blossom Spring this is ultimately based on. Perhaps reflecting a microcosm of Lu Chih’s life of reclusion, it is also an idealized rendering of his.&* 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。倜儻好義，以孝友著稱於鄉里。詩文書畫並佳。曾和文徵明、祝允明一起作畫吟詩。畫的名聲和文徵明一樣好。 這幅用淡墨乾筆，畫叢山疊樹，漁父鼓舟前進，一面洗腳，二人在高坡上坐著似在觀看瀑布。用色淡雅而有變化。畫成於陸治七十三歲。陸治有詩，曾自比「桃源中人」，以喻其隱居狀況。此畫在筆法與構圖，均受元代王蒙花谿漁隱圖影響，頗有自況意味。 &*Lu Chih (whose style name was Shu-p’ing and sobriquet, Pao-shan-tzu) was a native of Wu County, Kiangsu. A self-assured man of great integrity, he was locally famed for his filiality and loyal friendship. Not only a painter, he was also an accomplished poet, writer, and calligrapher. Clusters of mountains and grove upon grove of trees rise above the fisherman in the immediate foreground, who paddles his boat forward, dangling his feet in the steam. Two men sitting on the bank above him seem to be gazing at the waterfall. Lu Chih has here used a dry brush and pale ink that nevertheless exhibits a wide range of tonal variations. In terms of brushwork and composition the scroll reveals the influence of such Yüan dynasty (1279-1368) painters as Wang Meng (1308-1385) who inspired by T’ao Yüan-ming’s Peach Blossom Spring created scenes of flowering streams and hermit fishermen. Lu Chih him self once wrote a poem likening his own eremitic existence to that of an inhabitant of the Spring.
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- 國立故宮博物院
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
