书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：太上皇帝之宝
收传印记：狄毅之印
收传印记：棠邨草堂
收传印记：逸舫

题跋资料:

题跋类别：作者款识；作者：陆治；题跋位置：本幅；款识：千载支郎说此经。寒泉幽涧尚纵横。莺花浪示春声色。水月犹通佛性情。嵌石半龛苔寄迹。空亭一箇鹤留名。许询同侣真同调。况有谿山照眼清。包山陆治。；书体：楷书；全文： 印记：包山子、陆氏叔平

主题:

次要主题：山水名胜支硎山；次要主题：山水山径 ；次要主题：山水瀑布 ；次要主题：树木松 ；次要主题：建筑水榭 ；次要主题：建筑  ；其他主题：山水  ；其他主题：山水石磴、栈道石磴；其他主题：山水溪涧、湍泉溪涧；其他主题：人物高士（士人、隐士） ；其他主题：人物侍从（侍女、童仆） ；其他主题：人物行旅 ；其他主题：人物百姓 ；其他主题：树木  ；其他主题：走兽骡．驴驴一匹；其他主题：建筑房舍 ；其他主题：建筑桥 ；其他主题：建筑篱笆、围墙围墙；其他主题：车轿 

技法:

工笔 皴法 人物衣纹描法(减笔) 

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页417 收藏着录： 故宫书画图录，第八册，页19-20 参考书目： 1.王耀庭，〈明陆治支硎山图〉，收入王耀庭编，《青绿山水画特展图录》（台北：国立故宫博物院，1995年七月初版一刷），页90-91。2.王耀庭、张华芝，〈明陆治支硎山图〉，收入王耀庭、张华芝编，《明陆治作品展览图录》（台北：国立故宫博物院，1992年初版），页74-75。 内容简介（中文）： 陆治（西元一四九六－一五七六年），字叔平，号包山子，江苏吴县人。画山水折衷元四大家，近则受沈周、文征明影响，晚年用墨愈枯淡，用笔愈方劲，峰峦巖石造形十分独特。支硎山在江苏吴县西南，晋朝支遁曾隐居于此，后人陆续建有报恩寺、观音寺、放鹤亭，是吴派画家常登临之名胜古蹟。陆治以疏朗的直线勾画皴擦山石，颇能脱去文氏的格局，自成风貌。 内容简介（英文）： Lu Chih was a native of Wu-hsien (modern Soochow). He excelled at poetry, prose, painting, and calligraphy. A close friend of the artists Chu Yün-ming and Wen Cheng-ming, Lu’s fame almost equalled that of the latter. Mt. Chih-hsing lies in southwest Wu-hsien and, during the Chin Dynasty, was the residence of a famous hermit. Later, the Pao-en Temple, the Fang-ho Pavilion, and a temple dedicated to Kuan-yin were built there. Wu school painters often retraced the footsteps of the ancients by climbing to these famous sites. Lu Chih has here depicted Mt. Chih-hsing with sparse, angular strokes to define the mountain forms, thus having abandoned the style of Wen Cheng-ming in favor of his own. 网页展示说明 陆治在五十岁以后隐居支硎山，读书作画更加专心。在这以前陆治曾经参加科举考试，有心担任公职。然而几次考试都没有考上，于是选择书画和园艺生涯，另外走出一条路来。支硎山在苏州附近，属于花岗岩地质，景观独特，天然山石之美，带给陆治丰富的作画灵感。以前他所学到的山水画法，这时候正可以活用验证一番。他尝试用转折的笔法把山石轮廓画出来，又用干笔淡墨皴擦，来传达山石的纹理。如此画面整体感觉简洁有力，另有一种清峻的气息。陆治隐居支硎山，并不是找一个避风港躲起来，而是从此定下心来，开始书画生涯，实实在在段鍊自己。他知道画画必须持之以恒，熟练笔法之后，再加以灵活运用，进一步求变化，才有可能创造出自己的风格。这幅支硎山图已经属于陆治自己的面貌，当时欣赏陆治的人，都说陆治的成就几乎和他的老师文征明难分高下了。 网页展示说明 After the age of around 50, Lu Chih lived in reclusion at Chih-hsing Mountain, where he studied with even greater concentration. Beforehand, Lu Chih had ambitions of becoming an official. After failing the civil service examinations several times, however, he chose the path of painting, calligraphy, and gardening in reclusion. Mt. Chih-hsing is near Soochow and composed of a bedrock of granite, creating the unique and beautiful natural formations that inspired Lu Chih's landscape painting. The mountain was named after the Chin dynasty (265-420) monk Chih-tun (also known as Chih-hsing), who lived in seclusion there. The mountain is known for its flat rocks, which are known as “hsing” in Chinese. Wu School painters often retraced the footsteps of the ancients by climbing to such famous sites. Consequently, Lu took his previous studies of landscape painting and applied them to the scenery around him. He used angular brushwork to outline the rocky forms as well as dry and light ink to texture them for a simple and pure yet powerful presence. Lu Chih did not hide as a recluse and do nothing but worked even harder at painting and calligraphy, honing his skills to create a unique style, as seen in this painting. Even in his own time, people praised him for reaching beyond the style of his famous teacher Wen Cheng-ming to create his own manner.