【作品基本信息】
| 作者 | 陆治 |
| 品名 | 凌波新妆图_明人画扇（亨）册 |
| 朝代 | 明代 |
| 文件大小 | 18.0MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 2829×2121 |
| 尺寸（CM） | 23.95×17.95 |
| 作品数量 | 1 |
| 作品收藏 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 绘画 |
| 品名 |
明人画扇（亨） 册 明陆治凌波新妆 Lotus and Bird in Autumn |
| 分类 | 绘画 |
| 作者 | 陆治 |
| 数量 | 一幅 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 17.7×51.5 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 纸 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 作者款识 | 陆治 | 本幅 | 凌波僊子鬪新妆。七窍虚心吐异香。何事花神多薄幸。故将颜色恼人肠。陆治作。 | 行楷书 | |
|
印记： 包山子、陆氏叔平 |
|||||
印记资料
| 【印记类别】 | 【印记】 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 主要主题 | 花草 | 莲荷 | |
| 主要主题 | 翎毛 |
技法
| 【技法】 | 【技法细目】 |
| 写意 |
参考数据
| 【类别】 | 【参考数据】 |
| 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 |
| 内容简介（中文） | 此画如同摄影机的特写镜头，掌握到一瞬间鸟儿探荷的情景。鸟类翎毛原非陆治所长，由于陆治用功甚勤，因此不放弃自我段炼的机会，也在花鸟画中不断地求进步。画中鸟爪和羽毛稍欠自然，水草抽出的弧线和莲蓬梗弯成的曲线特别醒目，而水鸟正巧停在莲蓬梗上。观者的目光会循着水鸟的眼神落在荷花上，体会到这一瞬间鸟儿探荷在画面上成为永恒。 |
| 内容简介（英文） | This scene looks like it is viewed through the telephoto lens of a camera, capturing the instant when a bird looks at a lotus blossom. The subject of birds originally was not one in which Lu Chih specialized. However, through his effort and skill, he was able to take the opportunity to view such scenes and practice them in his painting continually. Although the details of the feathers and claws of the bird here are not quite accurate, the elegantly arching grasses, tilted lotus leaf, and “S”-shape of the lotus stem (all of which appear as if in a breeze) make this work particularly attractive as a backdrop for the bird in the middle. We are able to clearly follow the bird’s line of sight to the lotus blossom in a scene that has been captured for eternity here. |
| 内容简介（中文） |
陆治（公元一四九六－一五七六年），江苏吴县人。字叔平，号包山子。为人孝悌好义，诗文书画都很好，曾游艺于祝允明、文征明之门，画风清雅，山水、花鸟颇具己意。 画面的一角，一朵淡粉色的荷花嫣然绽放；花侧，大片的荷叶曲茎斜伸，似若随风翻起；左方，莲篷孤然挺立，水鸟栖立梗上，彷佛正在欣赏眼前的美景。全幅逸笔草草，钩瓣染叶，似不经意，流露出一股淡雅的趣味。 本幅为「明人画扇－亨」册第十一开。 |
| 内容简介（英文） |
Lu Chih, style name Shu-p’ing, sobriquet Pao-shan-tzu, was a native of Soochow, Kiangsu province. He was renown for his filial piety and righteousness, and he excelled at poetry, writing, calligraphy and painting. He studied with such artistic luminaries as Chu Yun-ming (1460-1526) and Wen Cheng-ming (1470-1559). His painting style was clear and elegant, and his landscapes and birds and flower paintings occasionally reveal his own distinct features. In one corner of this fan is a captivating lotus painted in light colors. To one side is a large leaf which leans to one side as if moving with the wind. To the right, the cupule of the lotus stands upright, and a waterfowl perches on the stem as if appreciating the beautiful scene before him. The entire work seems to have been executed effortlessly in the outlining of petals and application of wash on leaves. The effect revealed is light and elegant in taste. |
| 参考书目 | 1.王耀庭、张华芝，〈明陆治秋荷水鸟〉，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。 |
| 收藏着录 | 李玉珉，〈明人画扇（亨） 册 明陆治凌波新妆〉，收入《故宫书画图录(卅二)》（台北：国立故宫博物院，2013.12），页108-119。 |
【作品展示】
明人画扇（亨）册明陆治凌波新妆
