[{"data":1,"prerenderedAt":58},["ShallowReactive",2],{"artwork-shuang-xi-tu-cui-bai-287576":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":24,"material":25,"size":26,"collection":27,"collections":28,"showCount":29,"zanCount":30,"manualWeight":31,"mainColor":32,"tagLinks":33},287576,"shuang-xi-tu-cui-bai-287576","双喜图","宋","崔白","藏地不详","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[12,13,14,15,16,17,18,19,20,21,22,23],"高清","名画","国画","立轴","工笔","设色","飞鸟","兔","枯树","花鸟","兽","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ec422a7f31392c01473ad0cdcb93a1.jpg","未知","Xcm*Xcm","",[],210,1,0,"795548",[34,36,38,40,42,44,46,48,50,52,54,56],{"name":12,"slug":35},"gao-qing",{"name":13,"slug":37},"ming-hua",{"name":14,"slug":39},"guo-hua",{"name":15,"slug":41},"li-zhou",{"name":16,"slug":43},"gong-bi",{"name":17,"slug":45},"she-se",{"name":18,"slug":47},"fei-niao",{"name":19,"slug":49},"tu",{"name":20,"slug":51},"ku-shu",{"name":21,"slug":53},"hua-niao",{"name":22,"slug":55},"shou",{"name":23,"slug":57},"yin-zhang",1777535394617]