石渠寶笈三編(延春閣),第四冊,頁1998 &故宮書畫錄(卷五),第三冊,頁421 &故宮書畫圖錄,第八冊,頁13-14&陸治不僅長於山水畫,也能畫花鳥,所作花卉生意盎然,在吳派畫家中以能得宋人韻度,備受贊賞。此幅小景畫菖蒲、百合、石榴,兼用沒骨、鉤勒兩種方法,隨意鉤畫點染,構圖和設色均不落俗套,是陸治七十五歲老境成熟之作。畫作上方自題『隆慶庚午天中節,包山陸治寫』,天中節即是端午節,可知此為陸治應景之作。&Lu Chih not only specialized in landscape painting, but he was also a capable bird-and-flower painter. His flowers all are life-like and natural. Among Wu School artists, he was able to capture the harmony of Sung (960-1279) styles and was therefore admired. In this seemingly simple painting, Lu has rendered the tall calamus, lilies, and pomegranate in a combination of the outline and so-called “boneless” inkwash methods. He freely outlined, dotted, and washed the forms to create a painting that is elegant in both composition and coloring. Done in 1570 at the age of 74, Lu’s inscription at the upper left indicates it was done at the Dragon Boat Festival (on the 5th day of the 5th lunar month), thus making it a seasonal painting.& 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。為人孝悌好義,詩文書畫都很好,曾遊藝於祝允明、文徵明之門,畫風清雅,山水、花鳥都頗能出己意。 畫中百合、艾草、石榴並立而偃仰有致。花果以沒骨法為主,石榴點以硃砂,艾草染花青,百合則以墨寫。復均以墨筆鈎勒出骨架筋絡,用色古艷,筆墨相當寫意。 &Lu Chih came from Suchou in Kiangsu. Although easy- going by nature, he had strong moral sense and was praised by his friends for his filial conduct. Equally skilled as a painter, calligrapher, poet and essayist, he once learned from Chu Yün-ming and Wen Cheng-ming. His landscape and flower-and-bird paintings show personal characteristics. Lilies, pomegranate blossoms and calamus display the “boneless method” of brushwork (brushing colors without ink outline). The application of colors is fine and delicate; the pomegranate blooms are high-lighted with red dotting, the calamus leaves are tinged with a pale blue hue, and the lilies are brushed in a variety of pure ink washes. The artist included hook-like ink accents to give structure to the composition. Lu Chih’s highly skilled use of brushwork and color successfully imparts the freshness of the bouquet.