明陸治山水 卷
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- 資料識別：
- 故畫001632N000000000
- 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：
- 名勝 江河、湖海 漁夫、船夫 行旅 楊柳 馬 茅草屋 店舖 塔 橋 漁船 帆船 耕織漁獵
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明穆宗隆慶五年（1571）
- 格式：
- 本幅 31x162.5公分、隔水一 13.8公分、隔水二 13.8公分
- 關聯：
- 石渠寶笈三編（延春閣），第四冊，頁1991&*故宮書畫錄（卷八），第四冊，頁44&*故宮書畫圖錄，第十九冊，頁275-278&* 陸治像大多數畫家一樣，剛開始學畫的時候都有老師指導，免得找不到方向。陸治的老師文徵明，學問好品德更好，陸治跟著學習作詩、寫字、畫畫，兩人像朋友一樣融洽。在老師的鼓勵下，陸治越畫越好，把老師的方法都學會了。文徵明高興自己文人畫風有了傳人，又進一步指導陸治去學習宋朝人和元朝人的筆法。陸治很用功，老師沒教之前，已經對元朝畫家王蒙和倪瓚的筆法下過功夫，所以老師一教就畫得很順手。陸治畫這幅山水時剛好四十歲，他把倪瓚的筆法畫出來了，連構圖的方法也是倪瓚常用的形式。倪瓚喜歡畫一條河兩岸的景緻，陸治也採取了類似的佈局。畫中幾間小屋子可能就是畫文徵明的住所─―玉磬山房，雖然畫中房子簡化了許多，陸治畫來還是很有味，因為這裡也是陸治學習成長的地方，在陸治學畫歷程中，能得到一位好老師指點，真是幸運。&*Like many artists, when Lu Chih first studied painting, he followed his teacher, who was Wen Cheng-ming (the master Wu School painter). Encouraged by his teacher-friend, Lu assimilated Wen's learning. Likewise, Wen was impressed by Lu and encouraged him to look back to the styles of Sung and Yuan artists. Since Lu had already studied the styles of the Yuan scholar-artists Wang Meng and Ni Tsan, progress was even easier for him. This work was done by Lu Chih in 1535 at the age of 39. Although entitled “Landscape”, it has a frontispiece by Lu Chih's artist-friend Ch'en Ch'un and a colophon with poetry by Wen Cheng-ming. In other words, this handscroll is a collaborative effort of poetry, calligraphy, and painting by three famous Soochow artist-friends. At the time, the Soochow area flourished culturally, and scholars often formed artist groups dedicated to poetry, writing, painting, and calligraphy. Thus, perhaps the cottage shown here is the Yu-ch’ing mountain studio belonging to Wen Cheng-ming. The brushwork here reflects the Ni Tsan's style, making it an early masterpiece by Lu in this manner. Ni Tsan was noted for painting with sparse and dry brushwork and representing desolate scenes of wide stretches of water separating two strips of land in front and back. Even at this early stage in Lu Chih's career as a painter, he seems to have been drawn to the reclusive and refined life and style of Ni Tsan. &* 此畫雖然題為「山水」，前有陸治同門好友陳淳（一四八三－一五四四）題字：「春在毫端」，後有師長文徵明（一四七O－一五五九）自書詩文，可說是吳門師生詩書畫合作。當時蘇州地區文風興盛，讀書人常以詩文書畫會友，畫中景點可能就是文徵明玉磬山房所在。筆墨接近元代倪瓚（一三O一－一三七四）的氣息，潛力卻尚未完全發揮，是陸治四十歲學習倪瓚的佳作。&*Although this work is entitled Landscape, it has a frontispiece by Lu Chih’s artist-friend Ch’en Ch’un (1483-1544) and a colophon with poetry by Wen Cheng-ming (1470-1559), his renowned teacher. In other words, this handscroll is a collaborative effort of poetry, calligraphy, and painting by 3 famous Soochow artist-friends. At the time, the Soochow area flourished culturally, and scholars often formed artist groups dedicated to poetry, writing, painting, and calligraphy. Thus, perhaps the cottage shown here is the Yü-ch’ing mountain studio of Wen Cheng-ming. The brushwork here reflects the style of Ni Tsan’s (1301-1374) painting, making it an early masterpiece by Lu in this manner. This work was done by Lu Chih in 1535 at the age of 39.&*1.王耀庭、張華芝，〈明陸治山水〉，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。
- 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
