[{"data":1,"prerenderedAt":50},["ShallowReactive",2],{"artwork-li-hua-bai-yan-shan-mian-lu-zhi-233799":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":22,"material":23,"size":23,"collection":23,"collections":24,"showCount":25,"zanCount":26,"manualWeight":27,"mainColor":28,"tagLinks":29},233799,"li-hua-bai-yan-shan-mian-lu-zhi-233799","黎花白燕扇面","明","陆治","藏地不详","明代画家陆治的花鸟画多表现出与众不同的格调，《梨花双燕图》所展现出的境界与同时期的明代画家甚至于他自己的其他作品也完全不同。工笔与写意结合，勾勒中粗细结合，整幅画上画幅只占小部分，大部分都是题字，并有文征明的亲笔题跋。而在众多题字中尤为值得关注的就是乾隆御题，此作曾经两次被乾隆当皇上和太上皇两个时期展阅过。《梨花双燕图》构图上采用较为传统的对角线方式描绘花枝，敷色雅致，对梨花和燕子形态的描绘生动传神。画面上有作者自题诗句一首，署款“包山陆治制”，并钤有乾隆内府玺印多方。《梨花双燕图》堪称陆治花鸟画代表作。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因居包山，自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[12,13,14,15,16,17,18,19,20,21],"明代","扇面","国画","书画","工笔","设色","花鸟","梨花","白燕","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e90a284399b9a35c0b28c400c76c4c.jpg","",[],41,1,0,"BDBDBD",[30,32,34,36,38,40,42,44,46,48],{"name":12,"slug":31},"ming-dai",{"name":13,"slug":33},"shan-mian",{"name":14,"slug":35},"guo-hua",{"name":15,"slug":37},"shu-hua",{"name":16,"slug":39},"gong-bi",{"name":17,"slug":41},"she-se",{"name":18,"slug":43},"hua-niao",{"name":19,"slug":45},"li-hua",{"name":20,"slug":47},"bai-yan",{"name":21,"slug":49},"shu-zhi",1777535407195]