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- 資料識別：
- 故畫002242N000000000
- 資料類型：
- 繪畫
- 著作者：
- 陸治
- 主題與關鍵字：
- 奇石 蜀葵 端午 石榴 靈芝
- 日期：
- TIME STAMP:30-11月-09
- 格式：
- 本幅 116.7x62.7公分&本幅 86.5公分
- 關聯：
- 石渠寶笈三編（延春閣），第四冊，頁1998 &故宮書畫錄（卷八），第四冊，頁83 &故宮書畫圖錄，第八冊，頁31-32 &此幅沒骨花卉構思可能來自園中一景，斜坡自左方向右延伸，以太湖石穩定重心。蜀葵花安置在石前，石榴花出枝在石後，再以山丹、靈芝陪襯補空。畫面賓主次第分明，用色艷而不俗，筆墨構圖和陳淳（一四八三－一五四四）近似，卻沒有陳淳放恣的氣息。其中自然優雅的韻味，正是沈周（一四二七－一五O九）、文徵明（一四七O－一五五九）以來吳派畫家共同追求的格調。&This painting of rocks and flowers done in the “boneless” inkwash method perhaps was inspired by a scene from Lu Chih’s garden. On a slope extending down from the left is a scene anchored by a decorative Lake T’ai rock. Hollyhock grow in front of the rock as pomegranates blossom on a branch that extends from the left to behind the rock. The scene is complemented by spirit fungus by the rocks and lily behind the main rock and slope. The arrangement of main and secondary elements is clear, and the coloring elegant. The brushwork and composition are similar to those of Ch’en Ch’un but without his abandon. Thus, the harmony between nature and elegance here is what artists such as Shen Chou and Wen Cheng-ming also sought.& 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。 設色畫，恰如園中一角，主景以蜀葵居中，背面太湖石，左方石榴穿出，兩旁則配以山丹、靈芝，主景雖居中，坡則斜下，加以石榴之橫出，使構圖穩重之主景外，又有斜向動態，不致刻板。本幅畫各種花卉，幾乎全部以色墨點染，並無鉤線，畫石雖見用筆，能將沉靜與活潑集於一畫中是其特色，畫法學自文徵明，三行款題書法亦是。 &Lu Chih was a native of Soochow, Kiangsu province. His style name was Shu-p’ing; his sobriquet was Pao-shan-tzu. Lu excelled in poetry, classical prose, calligraphy and painting. A friend of Wen Cheng-ming (1470-1559) and Chu Yün-ming (1460-1526), his paintings were almost as famous as those of Wen Cheng-ming. This colorful painting resembles a corner of a garden, with a solitary sunflower in the center. In the background is a T’ai-hu rock, and on the left, a pomegranate peeks out. On either side complementing the scene are a lily and a fungus said to possess supernatural powers. Although the main scene is situated in the middle, the composition slopes downward to the right. With the protruding pomegranate, the otherwise steady composition possesses an additional sense of movement which lifts it beyond monotonous static scenes. The great variety of flowers and plants depicted here were almost all executed by means of applying color and ink as wash without outlines. Although the brushstrokes of the rock are visible, the effect is one that is calm and quiet, yet lively, a special feature of Lu’s painting. His style follows Wen Cheng-ming’s, as does his calligraphy in the three line inscriptions executed in semi-cursive script on this work.
- 管理權：
- 國立故宮博物院
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- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
