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整幅作品为全景式构图，丰满繁复。禽鸟造型体态雍容，逼真生动，惟妙惟肖。在绘画技法上，禽鸟使用的是典型的勾线设色法，用线遒劲，设色上层层渲染，富丽华美。而对画面背景处的山石、枇杷树干的表达，画家则使用了稍微写意性的笔法进行勾勒，并在此基础上使用了皴染技法表现凹凸质感和阴阳向背。这种对树干与景石的描绘方法，我们似乎可以从中感受到崔白在 《双喜图》中，描绘树干所使用的灵活悠游又不失法度的水墨工写结合技法。",[23,25,26,29,28,30,98,99,100,7,31],"枇杷","孔雀","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f51404c96f2c60be675e39c78ae54fd.jpg","183.1x109.8",[35],85,1,{"id":107,"slug":108,"title":109,"dynasty":46,"author":66,"museum":67,"description":110,"tags":111,"thumbUrl":113,"material":73,"size":73,"collection":73,"collections":114,"showCount":104,"zanCount":105,"manualWeight":11,"mainColor":76},224378,"hua-hui-qi-shi-ce-shi-er-kai-8-ju-lian-224378","花卉奇石册-十二开-8","此作用笔秀润工致，湖石嶙峋朴拙，留白孔洞衬出通透雅姿，旁侧幽竹叶叶分明，清隽舒展。石畔野花柔婉娇妍，细草萦地，将小景衬得生机悠然。\n\n附石螳螂昂首凝神，振翅小虫翩跹于空，草虫刻画毫厘毕现，将灵动野趣藏于静雅景致中。设色轻浅柔和，晕染细腻自然，工笔精致却不板滞，将幽寂庭隅的清趣鲜活定格，于尺幅绢素间，糅合草木的静雅与草虫的生机，尽显闲淡悠然的逸致，勾勒出夏日庭间的鲜活幽谧。",[23,25,26,51,28,29,30,112,7,31,70,71],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288770c4e7a26717f5dbb64eb7856ee.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":119,"author":120,"museum":67,"description":121,"tags":122,"thumbUrl":126,"material":127,"size":128,"collection":73,"collections":129,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":41},290142,"hui-qin-tu-huang-ju-cai-290142","会禽图","五代十国","黄居寀","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[24,25,26,27,29,28,30,100,123,124,7,125,31],"梅","山茶","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f43a7cf6d1c9220be37682f0c14340.jpg","未知","Xcm*Xcm",[],83,{"id":132,"slug":133,"title":134,"dynasty":46,"author":66,"museum":67,"description":135,"tags":136,"thumbUrl":137,"material":73,"size":73,"collection":73,"collections":138,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":76},224370,"hua-hui-qi-shi-ce-shi-er-kai-10-ju-lian-224370","花卉奇石册-十二开-10","此作以灵秀湖石为主体，朴拙纹理自带幽古意趣。细茎挺出，嫩黄碎花娇俏垂曳，与苍朴湖石形成柔刚对照。石上豆娘静立，翅脉纤毫毕现，将小虫灵动之态尽致描摹。\n\n画中运用撞水撞粉技法，花叶水润鲜活，苔草以淡青晕染，与赭石湖石色调柔润相融，静中藏动，生机暗涌。全幅工写兼备，寥寥数笔便将庭院小景的恬然意趣捕捉，将草木生灵的幽微情态勾勒无遗，尽显写生精妙，满溢闲逸清雅的文人意韵。",[23,25,26,51,28,29,30,31,7,70,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057086feec0f2550986e5d5e2c2e3f6a.jpg",[],58,{"id":141,"slug":142,"title":143,"dynasty":18,"author":95,"museum":67,"description":144,"tags":145,"thumbUrl":146,"material":127,"size":128,"collection":73,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":41},287586,"hua-pi-pa-kong-que-cui-bai-287586","画枇杷孔雀","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[25,24,30,29,28,99,98,31,7,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485ccbcaf466a1e71621d56277378c3.jpg",[],57,{"id":150,"slug":151,"title":152,"dynasty":46,"author":153,"museum":67,"description":154,"tags":155,"thumbUrl":162,"material":127,"size":128,"collection":73,"collections":163,"showCount":148,"zanCount":105,"manualWeight":11,"mainColor":76},270176,"sha-tie-juan-tao-shu-xian-he-tu-mian-wu-mu-diao-hua-bing-tuan-shan-yi-ming-270176","纱贴绢桃树仙鹤图面乌木雕花柄团扇","佚名","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[156,157,29,28,30,158,159,112,7,160,161],"扇面","团扇","桃树","仙鹤","木质","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facead754c75987afe21c13f4dbff64eb.jpg",[],{"id":165,"slug":166,"title":167,"dynasty":46,"author":168,"museum":20,"description":169,"tags":170,"thumbUrl":184,"material":185,"size":186,"collection":37,"collections":187,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":76},222793,"jin-chun-tu-lang-shi-ning-222793","锦春图","郎世宁","《锦春图》设色浓艳鲜丽，充分体现郎世宁的绘画特色。锦鸡花卉得写实之真，而湖石坡草又表现中国画的笔墨趣味。画春华锦鸡。锦鸡全用西法。点景树石笔墨是旧院体。构景一仍是陈法。当出另一画家补绘。设色画山涧旁湖石杂卉，二锦鸡栖石上。",[23,24,25,26,27,29,28,171,172,173,174,125,175,31,176,177,178,7,179,180,181,182,183],"中西合璧","光影透视","写实","锦鸡","山石","草木","岩壑","野花","枝干","苔草","坡地","花叶","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2017289c044d5d1fb6ebf7be3f2e2187.jpg","绢本，设色","横68.6厘米，纵121.6厘米",[37,38],{"id":189,"slug":190,"title":191,"dynasty":46,"author":66,"museum":67,"description":192,"tags":193,"thumbUrl":195,"material":73,"size":73,"collection":73,"collections":196,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":76},224373,"h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