[{"data":1,"prerenderedAt":51},["ShallowReactive",2],{"artwork-zhu-ou-tu-cui-bai-219216":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":21,"material":22,"size":23,"collection":24,"collections":25,"showCount":28,"zanCount":29,"manualWeight":30,"mainColor":31,"tagLinks":32},219216,"zhu-ou-tu-cui-bai-219216","竹鸥图","宋","崔白","台北故宫博物院","本幅画翠竹、芦草随风摇曳，水波也起伏荡漾，白鹭一只立于水中，则是放低了姿势，采逆向迎风、涉水而行的姿态，动静之间，形成均衡画幅的力量。幅上虽有崔白二字款，若和院藏崔白的「双喜图」相比较，在刻划花鸟的情态、掌握自然环境中一刹那生动的情景，两者的风味相类；但在用笔方面，崔白的笔墨线条，无论粗细柔劲、浓淡干湿、起伏顿挫，都为表现物象的质感、动态，随物变化。而在「竹鸥图」中，画白鸥的线条细挺，画竹子、芦草和坡石则是时有断续、富有弹性的线条，与院藏宋人「翠竹翎毛」中那种起伏变化明显，偏向于南宋风格的线条较为接近，因此本幅虽非崔白所作，但属宋代受崔白影响的作品之一。崔白（活动于11世纪后半），字子西，濠梁（今安徽凤阳）人。宋仁宗时（1022-1062）画院学艺。举凡道释、人物、禽兽、花卉无不精绝，尤擅长于花竹、山兔、枯荷、水凫、野雁之类。",[12,13,14,15,16,17,18,19,20],"高清","国画","花鸟","设色","工笔","竹","白鹭","岩石","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de49481fe805ec1b96d44ffd87decef.jpg","绢本,设色","101.3x49.9cm","宋画精选",[24,26,27],"花鸟画精选","设色画精选",242,2,0,"795548",[33,35,37,39,41,43,45,47,49],{"name":12,"slug":34},"gao-qing",{"name":13,"slug":36},"guo-hua",{"name":14,"slug":38},"hua-niao",{"name":15,"slug":40},"she-se",{"name":16,"slug":42},"gong-bi",{"name":17,"slug":44},"zhu",{"name":18,"slug":46},"bai-lu",{"name":19,"slug":48},"yan-shi",{"name":20,"slug":50},"shui-cao",1777535394258]