书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

明世宗嘉靖三十二年（1553）

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鉴赏
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
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：陆治；题跋位置：本幅；款识：嘉靖癸丑（西元一五五三年）仲春。包山居士陆治画。；书体：楷书；全文： 印记：叔、平、陆生叔平

题跋类别：题跋；作者：沈士端；题跋位置：本幅；款识：庚申岁新秋望日。云间沈士端书。；书体：楷书；全文：昌蒲歌。有石奇峭天琢成。有草夭夭冬夏青。人言昌蒲非一种。上品九节通仙灵。异根不带尘埃气。孤操爱结泉石盟。明窗净几有宿契。花林草砌无交情。夜深不嫌清露重。晨光疑有白云生。嫩如秦时童女登蓬瀛。手携绿玉杖徐行。瘦如天台山上贤圣僧。休粮绝迹孤鹤形。劲如五百义士从田横。英气凛凛磨（应作摩）青冥。清如三千弟子立孔庭。回琴点瑟天机鸣。堂前不入红粉意。席上常听诗书声。怪石篠荡皆充贡。此物舜庙当共登。神农知已入本草。灵均蔽贤遗骚经。幽人耽玩发仙兴。方士服饵延修龄。䌽鸾虬凤琪华苑。赤虬玉麟芙容城。上界真人好清净。见此灵苗当大惊。我欲携之朝太清。瑶草不敢专芳馨。玉皇一笑留香案。锡与有道者长生。人间千花万卉尽荣豔。未必敢与争高名。宋谢枋得撰。庚申岁新秋望日。云间沈士端书。印记：士端、克明氏

主题:

主要主题：花草菖蒲 主要主题：节令与二十四节气端午天中佳卉主要主题：山水奇石 

技法:

写意 皴法 界画 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1997 收藏着录： 故宫书画录（卷八），第四册，页83 收藏着录： 故宫书画图录，第八册，页1-2 内容简介（中文）： 陆治（西元一四九六－一五七六年），江苏吴县人。字叔平，号包山子。倜傥好义，以孝友着称于乡里。曾与文征明、祝允明一起作画吟诗。诗文书画并佳。 「天中」即农历五月五日之端午节，民俗以菖蒲叶浸酒，服之可以辟瘟气，是以本幅画盆景中一太湖石，旁植菖蒲草，取名为「天中佳卉」。文人讲究生活情趣，莳花赏石，做为花园书房摆设之用，进而画图记实。本幅亦可视如此。楷书写赋，佔画面上方大部份，更足以显示书画一体。 内容简介（英文）： Lu Chih (style name Shu-p’ing, sobriquet Pao-shan-tzu) was a native of Wu County, Kiangsu province. He was a bit of a dandy and gained fame for his loyalty and sincerity in friendships. He also once painted paintings and wrote poems with Wen Cheng-ming and Chu Yün-ming. He excelled in poetry, belles-lettres, calligraphy, and painting.T’ien-chung signifies the Dragon Boat Festival on the fifth day of the fifth month of the lunar calendar. According to folk traditions, at this time calamus soaked in wine can drive out pestilential vapors. Calamus at the Dragon Boat Festival, inspired by this traditional belief, is a depiction of a T’ai-hu garden rock surrounded by calamus in a rectangular pot. Literati paid particular attention to their lifestyle and surroundings, and they had a great appreciation for garden rocks and flowers. They often placed such objects in their studies or gardens and painted realistic depictions of them. This painting is an example of this practice. The painting and the prose poem written in standard script in the top portion of the scroll exemplify the unity of calligraphy and painting.