明陸治練川草堂圖 卷
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- 資料識別：
- 故畫001069N000000000
- 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：
- 溪澗、湍泉 高士（士人、隱士） 侍從（侍女、童僕） 漁夫、船夫 寒林．枯樹 水榭 篷舟 樂器
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明世宗嘉靖十六年（1537）
- 格式：
- 本幅 31x76公分、隔水一 11.9公分、引首 31x118.6公分、隔水二 12公分、隔水三 12公分、拖尾 31x217公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈三編（延春閣），第四冊，頁1982&*故宮書畫錄（卷四），第二冊，頁214&*故宮書畫圖錄，第十九冊，頁243-248&* 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。 本幅拖尾題跋，年款署丁酉（西元一五三七年），時陸治四十二歲，為朱繼甫所作，題意見拖尾諸家題跋詩文。一河橫貫，蓊鬱蒼翠中，築榭其間，主人於其中坐觀美景，是一件紀實作品，畫中山石布置猶存早年所學倪瓚風格，但畫石畫樹之線條，細勁遒邁，揮灑間已具日後用筆型態。 &*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. The colophon on this painting, dated 1537 when Lu was forty-three, states that this work was painted for Chu Chi-fu. A river flows horizontally, leading one’s eyes to the thatched hut on the right set in a lush and green forest. A figure sits inside the hut admiring the beautiful scene. This work is a record of Lu’s personal experience. The mountains and rocks in the painting are executed in a manner resembling Ni Tsan’s, a style Lu learned in his early years. The outline brushstrokes of the rocks and trees, however, are thin and forceful, demonstrative of the stage in which Lu’s brushwork had already achieved a distinct form. &*1.王耀庭、張華芝，〈明陸治練川草堂圖〉，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68-69。 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。 &*此為陸治四十二歲為朱繼甫所作，朱氏號練川，和當時文士交往密切，因此前有文徵明（一四七O－一五五九）題字，後有彭年（一五O五－一五六六）、顧雲龍諸人作文題贈，可以從而得知朱繼甫其人其事。構圖、筆法均較四十歲所作「山水」進步，顯示陸治除了向文徵明學習之外，也對倪瓚（一三O一－一三七四）的筆墨風格不斷地探索，力求深入。&*This work was done by Lu Chih in 1537 at the age of 41 for Chu Chi-fu, whose sobriquet was Lien-ch’uan. Chu mingled with scholars of the period, thus accounting for the four-character frontispiece here by the luminary Wen Cheng-ming (1470-1559) and the inscriptions afterwards presented by such scholars and artists as P’eng Nien (1505-1566), Ku Yün-lung, and Wen Chia (from whom we learn more about Chu and who is perhaps seen here in his cottage appreciating the scenery). The composition and brushwork are both similar to those of Landscape, which was done at the age of 39. The style reveals that, in addition to learning from Wen Cheng-ming, Lu Chih continued to study the style of the Yüan scholar-painter Ni Tsan (1301-1374).
- 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
