石渠寶笈續編(乾清宮),第二冊,頁534&*故宮書畫錄(卷八),第四冊,頁28&*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,好孝友稱。詩文書畫並工。嘗遊文衡山、祝枝山之門,畫名幾與衡山相埒。畫雁來紅、秋葵、桂花、芙蓉、海棠、菊及果等。陸治性喜栽菊,亦及於衆花,﹝陸包山遺稿﹞中頗多吟詠花木者,此圖為集秋日折枝花卉於一扇。畫花必知四時之分,因衆花生長季節不同,又如畫折枝花,無蜂蝶之來往,皆是畫家所宜注意者,陸治於此頗能得法。惟此畫風格與「花卉」一幅相近。本幅為「明人畫扇-亨」冊第十五開。&*Lu Chih was a native of Soochow, Kiangsu province. His style name was Shu-p’ing; his sobriquet was Pao-shan-tzu. He excelled at poetry, classical prose, calligraphy and painting. He was a close friend of Chu Yün-ming (1460-1526) and Wen Cheng-ming (1470-1559), who taught him the art of painting. Lu developed his own special features, and became revered in his own time. He enjoyed imitating the styles of Sung masters, but often expressed his own ideas as well. Depicted in this painting are the Chinese amaranth, sunflowers, osmanthus, crab-apples, and chrysanthemums. Lu Chih was fond of planting chrysanthemums and other flowers as well. In the Pao-shan-i-kao, there are many poems about flowers and tress. This work incorporates various cut autumn flowers on a fan. To paint flower painting, an artist must be familiar with variations in the four seasons, as many plants grow in different seasons. Artists must also understand that no bees or butterflies come to cut-flowers. These are all details which artists give close attention. Lu was particularly able to capture an accurate sense of nature. The style of this painting closely resembles that of his flowers. This is the fifteenth leaf from An Album of Mounted Fan Paintings by Ming Artists. &*1.王耀庭、張華芝,〈明陸治折枝秋卉〉,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77-78。