明人扇頭畫 冊 明陸治水墨山水
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- 資料識別：
- 故畫003542N000000003
- 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：
- 山徑 江河、湖海 房舍 帆船 瀑布 漁夫、船夫 行旅 百姓 寺廟 橋
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 21.5x60.2公分、全幅 37.5x63.3公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁501 &*故宮書畫錄（卷八），第四冊，頁165&*陸治傳世畫作中，自題學習元代吳鎮（一二八O－一三五四）的作品，目前僅見此幅，無意間為陸治學畫歷程留一實證。陸治用濕筆點染，墨色濃淡變化豐富，深得吳鎮墨韻神采。對陸治來說，掌握各家筆墨特性，是習畫必經之路，因此除了直接向文徵明（一四七O－一五五九）學習，也在文徵明的指導下探索宋元畫家筆法。陸治此後能夠成就自己的風格，關鍵之一便在於此。&*Of Lu Chih’s surviving works, the only one in which he himself wrote that he was painting in the style of Wu Chen (1280-1354) is this fan, making it the sole piece of evidence for Lu’s study of this Yüan scholar-painter’s style. Lu Chih used an ink-laden brush to dab and delineate the forms and combined them with a rich variety of light and dark washes of ink, revealing the harmony of ink for which Wu Chen was noted. For Lu Chih, grasping the unique features of an artist’s style was essential in the study of painting. Thus, he sought to learn directly from the great Wu School painter Wen Cheng-ming (1470-1559). Under Wen’s direction, Lu studied the brushwork of Sung and Yüan artists, which was key to Lu developing his own style.&* 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。 此幅標明畫學吳鎮（仲圭），吳鎮畫特重用墨，本幅學之，是以畫石皴法、畫樹點葉，皆因墨色層次分明，一片沉厚之意，與其他作品風格完全不一。王世貞謂：「陸治折衷勝國四家。」標明學吳鎮者，僅見此一幅，畫中景物蒼渾，不同於一向疏朗之面貌，於陸治畫歷研究頗應重視。本幅為「明人扇頭畫」冊第三開。 &*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. In the colophon of this painting, Lu claims he follows the style of the Yüan master Wu Chen (Chung-kuei), whose use of ink was his unique feature. The texture strokes of the rocks and execution of trees and leaves are all distinct to the layers of ink and color. Possessing a dense and heavy feeling, the style of this work differs completely from Lu’s other works. His friend and biographer Wang Shih-chen said, “Lu Chih compromised the achievements of the Four Masters of the Yüan Dynsty.” This is the only work which claims to follow Wu Chen’s style. The crowded elements in the painting are quite different from the hitherto sparsely arranged appearance which emulated Ni Tsan. This work is rather important in the research of Lu’s painting career. It is the third leaf in the album, Fan Paintings by Ming Artists.
- 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
