书体:

色彩:

设色

装裱形式:

册(推蓬装‧折扇式)

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

收传印记：（一半印不辨）

题跋资料:

题跋类别：作者款识；作者：陆治；题跋位置：本幅；款识：包山陆治；书体：楷书；全文： 印记：陆治之印

主题:

主要主题：翎毛鸳鸯 主要主题：花草芙蓉 

技法:

写意 皴法 苔点 

参考资料:

收藏着录： 石渠宝笈续编（干清宫），第二册，页534 收藏着录： 故宫书画录（卷八），第四册，页28 参考书目： 1.王耀庭、张华芝，〈明陆治秋塘戏水〉，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80-81。 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。 江水之上，一对鸳鸯与波相上下，岸边一株芙蓉，这种画法与「秋原飞鸟」相比较，显露出作者写意画法，不刻意求工。花出于点染，坡石亦如其画山水，并不经意，一种从容悠然的生活情趣如水鸟之自由荡漾。按陆治有芙蓉鸳鸯一诗，可见是陆治诗画一体的体材。本幅为「明人画扇－亨」册第十二开。 内容简介（中文）： 陆治花卉画时有精彩可观的佳作，鸟类翎毛之作有时却略有不及，此幅鸳鸯戏水即为一例。构图取左右坡陀彼此呼应的布局，自然打开画面空间，闢出中间水域；又以流转的水波纹，传达鸳鸯戏水的轻灵动态。岸边芙蓉花开，红嫩欲滴，为秋景带来几分温馨。画面气氛一片喜洋洋，若与「秋原飞鸟」比较，正是画境温暖和清冷的对比。 内容简介（英文）： There are many masterpieces of flower painting by Lu Chih, but not with birds, which he apparently did not have the opportunity to render often. This painting of mandarin ducks playing in a pond, however, is an exception. The composition involves two banks divided by a stretch of open water where a pair of mandarin ducks plays among the ripples and delicately rendered water plants. Despite Lu’s difficulty in depicting the birds, he succeeded in showing their spirit and lively relationship. Hibiscus grows on the foreground bank as their soft red blossoms almost drip with color, thereby adding a tinge of autumn to this scene. The atmosphere here is joyous, in contrast with the more moody scenery found in Birds Flying Over Grasses in Autumn. 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. He excelled at poetry, classical prose, calligraphy and painting. He was a close friend of Chu Yün-ming (1460-1526) and Wen Cheng-ming (1470-1559), who taught him the art of painting. Lu developed his own special features, and became revered in his own time. He enjoyed imitating the styles of Sung masters, but often expressed his own ideas as well. On the water, a pair of mandarin ducks rise and fall with the waves; on the shore stands a hibiscus flower. Compared with Lu’s Birds in an Autumn Field, this work represents his hsieh-i style, which contrasts with the more meticulous kung-pi style. The flower was painted with the application of wash; the slope and rocks resemble those in Lu’s landscapes, also painted in a carefree manner. Lu has transmitted a leisurely sentiment of life into the excitement and free movement of a waferfowl. A poem of Lu’s also describes hibiscus and mandarin ducks, suggesting that Lu employed the same theme in painting and poetry.