书体:

色彩:

浅设色

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅纸对幅纸

释文:

印记资料:

鑑藏宝玺：古希天子
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：太上皇帝之宝
收传印记：陈定画印

题跋资料:

题跋类别：题签；   ；书体：楷书；全文：陆治彭泽高踪

题跋类别：作者款识；作者：陆治；题跋位置：本幅；款识：秋日南楼赠菊。包山陆治写此谢之。何处陶家种。移来照我巵。祗因怀故主。寂莫欲含悲。 暎石霜柯劲。临轩霁色奇。秋光易飘忽。日暮转凄其。；书体：行楷书；全文： 印记：洞庭陆治、陆叔平氏

题跋类别：作者款识；作者：陆治；题跋位置：本幅；款识：此馀癸未年（西元一五二三年）任陈湖作也。壬申三月。慎馀先生携至支硎山居。回首已五十年矣。而纸墨若新。可谓能慎馀哉。为之重题。陆治。；书体：行楷书；全文： 印记：陆、治

题跋类别：题跋；作者：清高宗对幅戊申新正御题；书体：行书；全文：（乾隆戊申御题。诗文不录。）印记：古稀天子之宝、犹日孜孜

主题:

其他主题：山水  主要主题：人物高士（士人、隐士）陶渊明主要主题：树木松 ；其他主题：花草菊 

技法:

写意 皴法 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 故宫书画录（卷六），第四册，页243-245 收藏着录： 石渠宝笈续编（养心殿），第二册，页1105-1106 收藏着录： 故宫书画图录，第二十九册，页136-145 参考书目： 1.王耀庭，〈明陆治彭泽高踪〉，收入王耀庭编，《渊明逸致特展图录》（台北：国立故宫博物院，1988年初版），页94-95。2.王耀庭、张华芝，〈明陆治彭泽高纵〉，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67。3.江兆申，〈陆冶彭泽高踪　册〉，收入国立故宫博物院编，《吴派画九十年展》（台北：国立故宫博物院，1975年初版，1976年再版，1981年三版），页294。 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。画山水折衷四大家，近则受沈周、文征明影响，晚年用墨愈枯淡，用笔愈方劲，自成一格。　青松树下，陶渊明手持菊花而坐。幅左陆氏自题诗云：「何处陶家种」，有借陶渊明以自况之意。全作以干笔成之，设色淡雅，别具明净清雅之韵。时陆治二十八岁，虽为少作，却老成有馀。本幅选自「名贤妙蹟册」第十二幅。 内容简介（中文）： 陆治，生平小传另见。　画陶渊明手持菊花，坐于山坡上，青松两棵，骈列于后。作画时在嘉靖癸未（西元一五二三）陆治二十八岁，授馆于陈湖，李昭祥赠菊花，因写此画为谢。五十年后，隆庆壬申（西元一五七二），李昭祥又携此画请陆治重题，陆治已隐居于支硎山中。陶渊明和郭主簿诗：「芳菊开林耀，青松冠巖列，怀此贞秀姿，卓为霜下杰。」此画陆治题诗云：「陶家种」，以菊与陶渊明之联想，再读陶诗，显然借陶渊明以自况。画虽为少作，却老成有馀。 内容简介（英文）： T’ao Yüan-ming sits on a rocky slope beneath the pines, holding in his hand a sprig of chrysanthemums.Lu Chih painted this scroll in 1523 at the age of twenty-seven. Once when he was teaching near Lake Ch’en in Kiangsu a certain Li Chao-hsiang presented him with a gift of chrysanthemums, and Lu gave him this painting as a return gift. Fifty years later, when Lu was living in retirement in the Chih-hsing Mountains in Kiangsu, Li in 1572 again brought Lu the painting and asked him to add another colophon.The painting perhaps refers to T’ao Yüan-ming‘s lines “The fragrant chrysanthemums bloom and light up the forest; green pines crown the cliff ridge. I muse at their pristine beauty, as they yet stand stalwart beneath the frost.” To the scroll Lu Chih added the phrase “A variety of mum like that of the T’ao family,” a phrase that associates the work with T’ao Yüan-ming, even though the man in the painting probably refers to the artist himself.Lu Chih was a native of Wu County, Kiangsu. Not only a painter, he was also an accomplished poet, writer, and calligrapher. 内容简介（英文）： Lu Chih, a native of Kiangsu province, combined the painting styles of the Four Masters of the Yüan with those of Shen Chou and Wen Cheng-ming. In later years, he used dry ink sparingly to create mountains of unusual shape and texture.Under pine trees, Tao Yüan-ming sits on a slope holding a sprig of chrysanthemums. Lu Chih has borrowed the figure of T’ao Yüan-ming to refer to himself in the inscription; “Where has the T’ao chrysanthemum gone?” Painted in dry ink, the coloring is light and elegant for a pure and luminous quality. This was done by Lu at the age of 27. Though painted in his youth, the style is quite mature. This work is the 12th leaf from Album of Works by Famous Worthies. 网页展示说明 这是目前陆治传世最早的作品，作于二十八岁。当时陆治在陈湖教书，好友李昭祥送来菊花，陆治因此画这幅画表示答谢。画中涵义和晋代隐士陶渊明有关，陶渊明在归隐故乡之后，除了读书、写作充实自己之外，也种菜、种花，像老农、老圃一样过日子。陶渊明喜欢自耕自食的生活，以他的价值观看来，这比在朝作官适合自己，不需要委曲求全，反而失去了真正的自己。陶渊明的选择得到世人尊重，历来诗人、画家常在作品里讚美他这种真实不虚假的美德。由于陶渊明喜欢菊花，很自然地就用菊花来象征隐士脱俗的人格。陆治画中的陶渊明倚坐在松树下菊花前，彷彿很逍遥自在，实际上并非如此。陶渊明虽然隐居，并没有忘记自己对社会的责任，从他流传下来的诗文，可以知道他在文学领域中贡献自己，做好自己份内的事，陆治选择画陶渊明，这也是原因之一。 网页展示说明 At present, this is the earliest surviving painting by Lu Chih. It dates to 1423, when he was 27. At that time, Lu Chih was teaching at Lake Ch’en when his friend Li Chao-hsiang visited him and presented him with chrysanthemums. Lu painted this work to show his gratitude.This painting represents the great poet-recluse T’ao Yuan-ming (365-427), who spent his days in reclusion gardening, writing, and studying. T’ao felt that such a life was more suitable for him than that of an official, having once served as the magistrate of P’eng-tse (hence the title of this painting). For his integrity and simplicity, T’ao has been venerated ever since by poets and painters. T’ao especially loved the humble chrysanthemum, which stands out by blooming late in the season during autumn and thereby symbolizing the reclusive scholar who blossoms later in life. Lu has shown T’ao seated under pine trees in front of chrysanthemums and holding some blossoms in a state of ease. T’ao, like Lu Chih, did not take reclusion as an excuse for doing nothing, for they both took the opportunity to create. Thus, with regards to chrysanthemums, it was natural for Lu Chih to choose T’ao Yuan-ming as a model. Lu Chih also borrowed the figure of T’ao Yuan-ming in his self-reflective inscription; “Where has the chrysanthemum of T’ao gone?” Painted in dry ink, the coloring in this work is light and elegant for a pure and luminous quality. Though painted in Lu’s youth, the style here already appears quite mature.