明陸治天池石壁 軸
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- 資料識別：
- 故畫000559N000000000
- 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：
- 春景 名勝 江河、湖海 高士（士人、隱士） 松 寺廟 橋 枴杖
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明世宗嘉靖二十九年（1550）
- 格式：
- 本幅 70.6x30.3公分、全幅 44.5公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁656 &*故宮書畫錄（卷五），第三冊，頁417-418 &*故宮書畫圖錄，第七冊，頁351-352&*1.王耀庭、張華芝，〈明陸治天池石壁〉，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69-70。 2.陳葆真，〈從陸治的《溪山仙館》看吳派畫家摹仿倪瓚的模式 〉，《國立臺灣大學美術史研究集刊》，第1期(1994)，頁205-297。 &*Lu Chih was a native of what is now modern Soochow. In painting landscapes, he combined the styles of the Four Great Masters of the Yüan and those of Shen Chou and Wen Cheng-ming. In his later years, he used dry ink sparingly to create hills and mountains of unusual shape and texture. Mt. T’ien-ch’ih is located 15 kilometers to the west of Soochow. Located there is the Chi-chien Temple, built in the Yüan dynasty. The mountain is known for strange rock formations and precipitous cliffs. The mountain top is similar in shape to a lotus blossom. Lu Chih’s sharp, needle-like texture strokes give the scenery an even more spirited feel. This work was done in 1550 at the age of 54. &* 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。 群峰屹立，恰似重重屏障，畫面中間露出河岸交錯，使人乍得一片空闊，行人緩步朝山上行，畫中天池為蘇州名勝地。此畫作於作者五十五歲，就風格發展已是成熟，且具有自家面目，其特徵是巖石皴法，線條細瘦，轉折處每成尖角形態，設色則於赭石之上略施青綠，最別具一格。 &*陸治（西元一四九六－一五七六年），字叔平，號包山子，江蘇吳縣人。畫山水折衷元四大家，近則受沈周、文徵明影響，晚年用墨愈枯淡，用筆愈方勁，峰巒巖石造形十分獨特。天池山在蘇州西方十五公里，上有建於元代的寂鑒寺，山中奇石壁立，峰頂狀如蓮瓣，即題詩所云：「繡壁蓮峰芳草春，全吳一望掌中分。」以方折瘦削之筆描繪，尤其傳神。為五十五歲作品。 &*Lu Chih was a native of Soochow, Kiangsu province. His style name was Shu-p’ing; his sobriquet was Pao-shan-tzu. He excelled in poetry, classical prose, calligraphy and painting. A friend of Wen Cheng-ming (1470-1559) and Chu Yün-ming (1460-1526), Lu’s paintings were almost as famous as those of Wen Cheng-ming. A group of mountains stand erect as if they are a thick shield. In the middle of the painting, a meandering river forms zigzag shore lines, thus giving a feeling of a vast expanse. People stroll leisurely up the mountain. The scene depicted here is a famous sight in Soochow and was painted when the artist was fifty-five. Lu’s style at this point was already at a stage of maturity and was original in appearance, particularly in his texturing of mountains and rocks, the thinness of his strokes and the distinctly acute angles which form in the areas that twist and turn. His application of a layer of green and blue over yellow rocks is also characteristic of Lu’s style.
- 管理權：
- 國立故宮博物院
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