书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

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
收传印记：陈履平印
收传印记：清白之遗

题跋资料:

题跋类别：作者款识；作者：陆治；题跋位置：本幅；款识：葵榴花下自称觞。南极星辉满华堂。况是江南多胜事。朱明佳节正端阳。怀亲杜隐君七十。包山陆治题赠。；书体：草书；全文： 印记：有竹居、包山子

主题:

主要主题：节令与二十四节气端午 主要主题：山水奇石 主要主题：花草蜀葵 ；次要主题：花草 山丹；次要主题：花草石榴 ；次要主题：花草灵芝 

技法:

写意 没骨 皴法 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1998 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31-32 参考书目： 1.王耀庭、张华芝，〈明陆治端阳佳景〉，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79。2.谭怡令 ，〈明陆治端阳佳景〉，《故宫文物月刊》，第3期（1983年6月），封底里。3.〈明　陆治　端阳佳景〉，收入谭怡令、刘芳如、林莉娜主编，《满庭芳　历代花卉名品特展》（台北：国立故宫博物院，2010年十二月初版一刷），页40。 内容简介（中文）： 陆治(1496-1576)，明代江苏吴县人。字叔平，号包山子。倜傥好义，以孝友称。诗文书画并工，山水、花鸟颇能出己意。本幅设色画园中一角，画面宾主次第分明，用色艳而不俗。主景以蜀葵居中，背面湖石后有石榴花穿出，均为夏日端午前后盛开的花卉。两旁配以山丹、灵芝，花卉几乎全部以色墨点染，并无钩线。虽然主景居中，构图稳重，斜下的山坡与横出的石榴却为画幅添加了斜向动态，不致刻板。(20110102) 内容简介（中文）： 陆治（西元一四九六－一五七六年），吴县人。字叔平，号包山子。倜傥好义，以孝友称。诗文书画并工。尝游文衡山、祝枝山之门，画名几与衡山相垺。 设色画，恰如园中一角，主景以蜀葵居中，背面太湖石，左方石榴穿出，两旁则配以山丹、灵芝，主景虽居中，坡则斜下，加以石榴之横出，使构图稳重之主景外，又有斜向动态，不致刻板。本幅画各种花卉，几乎全部以色墨点染，并无钩线，画石虽见用笔，能将沉静与活泼集于一画中是其特色，画法学自文征明，三行款题书法亦是。 内容简介（中文）： 此幅没骨花卉构思可能来自园中一景，斜坡自左方向右延伸，以太湖石稳定重心。蜀葵花安置在石前，石榴花出枝在石后，再以山丹、灵芝陪衬补空。画面宾主次第分明，用色艳而不俗，笔墨构图和陈淳（一四八三－一五四四）近似，却没有陈淳放恣的气息。其中自然优雅的韵味，正是沈周（一四二七－一五O九）、文征明（一四七O－一五五九）以来吴派画家共同追求的格调。 内容简介（英文）： This painting of rocks and flowers done in the “boneless” inkwash method perhaps was inspired by a scene from Lu Chih’s garden. On a slope extending down from the left is a scene anchored by a decorative Lake T’ai rock. Hollyhock grow in front of the rock as pomegranates blossom on a branch that extends from the left to behind the rock. The scene is complemented by spirit fungus by the rocks and lily behind the main rock and slope. The arrangement of main and secondary elements is clear, and the coloring elegant. The brushwork and composition are similar to those of Ch’en Ch’un but without his abandon. Thus, the harmony between nature and elegance here is what artists such as Shen Chou and Wen Cheng-ming also sought. 内容简介（英文）： Lu Chih was a native of Soochow, Kiangsu province. His style name was Shu-p’ing; his sobriquet was Pao-shan-tzu. Lu excelled in poetry, classical prose, calligraphy and painting. A friend of Wen Cheng-ming (1470-1559) and Chu Yün-ming (1460-1526), his paintings were almost as famous as those of Wen Cheng-ming.This colorful painting resembles a corner of a garden, with a solitary sunflower in the center. In the background is a T’ai-hu rock, and on the left, a pomegranate peeks out. On either side complementing the scene are a lily and a fungus said to possess supernatural powers. Although the main scene is situated in the middle, the composition slopes downward to the right. With the protruding pomegranate, the otherwise steady composition possesses an additional sense of movement which lifts it beyond monotonous static scenes.The great variety of flowers and plants depicted here were almost all executed by means of applying color and ink as wash without outlines. Although the brushstrokes of the rock are visible, the effect is one that is calm and quiet, yet lively, a special feature of Lu’s painting. His style follows Wen Cheng-ming’s, as does his calligraphy in the three line inscriptions executed in semi-cursive script on this work. 内容简介（英文）： Lu Zhi (style name Shuping, sobriquet Baoshanzi) was a native of Wuxian in Ming dynasty Jiangsu. Unconventional yet righteous, he was famous for his filialty and friendship. He was also gifted at poetry, calligraphy, and painting, his landscape and bird-and-flower subjects in the latter standing out in particular.This work done in ink and colors depicts the corner of a garden setting with the primary and secondary roles of motifs clearly indicated. The colors are also beautiful yet not gaudy. The main motif is a couple of hollyhock plants in the center with a garden rock behind them complemented by pomegranate blossoms. Both of these plants come into full bloom around the Duanwu (or Dragon Boat) Festival. On either side is morningstar lily and spirit fungus, the flowers appearing to have been done completely in washes of ink and colors without outlining. Although the main subject is centered and the composition stable, the slope of the ground and angle of the pomegranate in the picture add diagonal forces that enliven the arrangement.(20110102)