明陸治丹楓秋色 卷
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- 資料識別：
- 故畫001042N000000000
- 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：
- 秋景 寺廟 亭 江河、湖海 百姓 寒林．枯樹 松 楓樹．槭樹
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 26.3x61.7公分、隔水一 26.3x10.7公分、隔水二 26.3x10.7公分
- 關聯：
- 石渠寶笈三編（養心殿），第二冊，頁844 &*故宮書畫錄（卷四），第二冊，頁219 &*故宮書畫圖錄，第十九冊，頁279-280&*1.王耀庭、張華芝，〈明陸治丹楓秋色〉，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75。 2.林莉娜，〈明陸冶丹楓秋色〉，收入林莉娜編，《秋景山水畫特展圖錄》（臺北：國立故宮博物院，1989年十月初版），頁75-76。 &*陸治對山水畫投注的心力，從流傳畫作中一一可見，至於化古人為己有，而不見用力痕跡，當以此作筆墨最為自然。其中林木亭子布景安排，和倪瓚（一三O一－一三七四）的格局隱隱相合；設色淡雅沉靜，也彷彿文徵明（一四七O－一五五九）的氣息；而皴擦點染，一任自然，又賦有元人的格調。陸治天資、學力兼具，因此能夠解析也能加以綜合，而後皆能得其自然。&*Lu Chih focused much of his artistic energy on landscape painting. From each of his surviving works, his transformation of the ancients into his own style (seemingly without effort) can be seen. The result is an utmost naturalness to the use of brush and ink, as seen in this work. Here, the arrangement of trees and a kiosk reflects the composition used by Ni Tsan (1301-1374). The coloring is subdued and muted, similar in spirit to that of Wen Cheng-ming (1470-1559). The texture strokes, dots, and washes all appear natural and therefore in harmony with the spirit of Yüan (1279-1368) painting. The talent and skill of Lu Chih allowed him to take apart styles and recombine them almost seeminglessly for a manner all his own.&* 陸治（西元一四九六－一五七六年），吳縣（今江蘇蘇州）人。字叔平，號包山子。好為詩及古文辭，善行楷，尤精通繪事。晚年隱於支硎山。前人記載他書學祝允明、畫學文徵明，不過他取資甚廣，以融合倪瓚筆法及古人青綠設色見長。 此圖繪秋山紅樹，古寺傍崖，遼闊的江岸旁，一亭子與遠山層巒遙遙相對。全畫筆墨設色都很淡雅，點葉皴染，似不經意，呈現出一幅明淨舒爽的秋日風景。 &*Lu Chih (style name Shu-p’ing, sobriquet Pao-shan-tzu) was a native of Wu County, Kiangsu (modern Soochow). He enjoyed poetry and classical prose, and was particularly good at painting. He studied the calligraphy of Chu Yün-ming and the painting of Wen Cheng-ming. However, his style was influenced by a broad range of sources, including the brush work of Ni Tsan and the archaic style of blue and green landscapes. In his later years, Lu became a hermit and lived at Mt. Chih-hsing. This scroll depicts the red trees and mountains of autumn. An ancient temple stands beside a cliff, while on this side of a broad river bank stands a pagoda facing layers of mountains rising at a distance. The colors are light and graceful and the brushwork seems natural, even casual or random. The painting evokes the brightness and clarity of an autumn day.
- 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
