书体:

色彩:

设色,青绿

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅纸隔水一绫隔水二绫

释文:

印记资料:

鑑藏宝玺：秀色入窗虚
鑑藏宝玺：古希天子
鑑藏宝玺：寿
鑑藏宝玺：太上皇帝
鑑藏宝玺：卍有同春
鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：五福五代堂古稀天子宝
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宝笈三编

题跋资料:

题跋类别：作者款识；作者：陆治；题跋位置：本幅；款识：云开遥岛三山出。籁起寒空两岸闻。落尽丹枫秋镜阔。野鸥飞点乱沙文。陆治。；书体：楷书；全文： 印记：叔、平

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：无；书体：行书；全文：(乾隆甲申御题。诗文不录。)印记：会心不远、德充符题籤清高宗   陆治丹枫秋色。内府祕玩。印记：乾隆宸翰

主题:

主要主题：山水秋景 ；次要主题：建筑寺庙 ；次要主题：建筑亭 ；其他主题：山水江河、湖海 ；其他主题：人物百姓 ；其他主题：树木寒林．枯树 ；其他主题：树木松 ；其他主题：树木枫树．槭树 

技法:

写意 皴法 人物衣纹描法(减笔) 

参考资料:

收藏着录： 石渠宝笈三编（养心殿），第二册，页844 收藏着录： 故宫书画录（卷四），第二册，页219 收藏着录： 故宫书画图录，第十九册，页279-280 参考书目： 1.王耀庭、张华芝，〈明陆治丹枫秋色〉，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75。2.林莉娜，〈明陆冶丹枫秋色〉，收入林莉娜编，《秋景山水画特展图录》（台北：国立故宫博物院，1989年十月初版），页75-76。 内容简介（中文）： 陆治对山水画投注的心力，从流传画作中一一可见，至于化古人为己有，而不见用力痕迹，当以此作笔墨最为自然。其中林木亭子布景安排，和倪瓒（一三O一－一三七四）的格局隐隐相合；设色淡雅沉静，也彷彿文征明（一四七O－一五五九）的气息；而皴擦点染，一任自然，又赋有元人的格调。陆治天资、学力兼具，因此能够解析也能加以综合，而后皆能得其自然。 内容简介（中文）： 陆治（西元一四九六－一五七六年），吴县（今江苏苏州）人。字叔平，号包山子。好为诗及古文辞，善行楷，尤精通绘事。晚年隐于支硎山。前人记载他书学祝允明、画学文征明，不过他取资甚广，以融合倪瓒笔法及古人青绿设色见长。 此图绘秋山红树，古寺傍崖，辽阔的江岸旁，一亭子与远山层峦遥遥相对。全画笔墨设色都很淡雅，点叶皴染，似不经意，呈现出一幅明净舒爽的秋日风景。 内容简介（英文）： Lu Chih (style name Shu-p’ing, sobriquet Pao-shan-tzu) was a native of Wu County, Kiangsu (modern Soochow). He enjoyed poetry and classical prose, and was particularly good at painting. He studied the calligraphy of Chu Yün-ming and the painting of Wen Cheng-ming. However, his style was influenced by a broad range of sources, including the brush work of Ni Tsan and the archaic style of blue and green landscapes. In his later years, Lu became a hermit and lived at Mt. Chih-hsing. This scroll depicts the red trees and mountains of autumn. An ancient temple stands beside a cliff, while on this side of a broad river bank stands a pagoda facing layers of mountains rising at a distance. The colors are light and graceful and the brushwork seems natural, even casual or random. The painting evokes the brightness and clarity of an autumn day. 内容简介（英文）： Lu Chih focused much of his artistic energy on landscape painting. From each of his surviving works, his transformation of the ancients into his own style (seemingly without effort) can be seen. The result is an utmost naturalness to the use of brush and ink, as seen in this work. Here, the arrangement of trees and a kiosk reflects the composition used by Ni Tsan (1301-1374). The coloring is subdued and muted, similar in spirit to that of Wen Cheng-ming (1470-1559). The texture strokes, dots, and washes all appear natural and therefore in harmony with the spirit of Yüan (1279-1368) painting. The talent and skill of Lu Chih allowed him to take apart styles and recombine them almost seeminglessly for a manner all his own.