书体:

色彩:

设色

装裱形式:

卷

创作时间:

明穆宗隆庆五年（1571）

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鉴赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鉴玺
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：昔日花从西子笑。今朝花笑独春风。石湖寒浸胭脂冷。犹带红妆落影中。水尽天南漾晚空。斜阳渔浦荻花风。菱歌散入孤云去。直带寒潮到越中。隆庆辛未（西元一五七一年）端阳日。作于有竹居。包山陆治。；书体：楷书；全文： 印记：有竹居、包山子、陆治叔平

主题:

主要主题：山水  ；其他主题：山水名胜 ；其他主题：山水江河、湖海 ；其他主题：人物渔夫、船夫 ；其他主题：人物行旅 ；其他主题：树木  ；其他主题：树木杨柳 ；其他主题：走兽马 ；其他主题：建筑茅草屋 ；其他主题：建筑店舖 ；其他主题：建筑塔 ；其他主题：建筑桥 ；其他主题：船渔船 ；其他主题：船帆船 ；其他主题：器用耕织渔猎 

技法:

写意 皴法折带皴人物衣纹描法(减笔) 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1991 收藏着录： 故宫书画录（卷八），第四册，页44 收藏着录： 故宫书画图录，第十九册，页275-278 参考书目： 1.王耀庭、张华芝，〈明陆治山水〉，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68。 内容简介（中文）： 此画虽然题为「山水」，前有陆治同门好友陈淳（一四八三－一五四四）题字：「春在毫端」，后有师长文征明（一四七O－一五五九）自书诗文，可说是吴门师生诗书画合作。当时苏州地区文风兴盛，读书人常以诗文书画会友，画中景点可能就是文征明玉磬山房所在。笔墨接近元代倪瓒（一三O一－一三七四）的气息，潜力却尚未完全发挥，是陆治四十岁学习倪瓒的佳作。 内容简介（英文）： 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. 网页展示说明 陆治像大多数画家一样，刚开始学画的时候都有老师指导，免得找不到方向。陆治的老师文征明，学问好品德更好，陆治跟着学习作诗、写字、画画，两人像朋友一样融洽。在老师的鼓励下，陆治越画越好，把老师的方法都学会了。文征明高兴自己文人画风有了传人，又进一步指导陆治去学习宋朝人和元朝人的笔法。陆治很用功，老师没教之前，已经对元朝画家王蒙和倪瓒的笔法下过功夫，所以老师一教就画得很顺手。陆治画这幅山水时刚好四十岁，他把倪瓒的笔法画出来了，连构图的方法也是倪瓒常用的形式。倪瓒喜欢画一条河两岸的景致，陆治也采取了类似的布局。画中几间小屋子可能就是画文征明的住所─―玉磬山房，虽然画中房子简化了许多，陆治画来还是很有味，因为这里也是陆治学习成长的地方，在陆治学画历程中，能得到一位好老师指点，真是幸运。 网页展示说明 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.