《寒雀图》卷，北宋，崔白作，绢本，设色，纵25.5cm，横101.4cm。

　　本幅署款“崔白”二字，有清高宗弘历题诗一首。卷后明文彭题跋。

　　图绘枯木及9只麻雀飞动或栖止其间的情景。9只小雀依飞鸣动静之态散落树间，自然形成三组。构图巧妙，布局得当，在动与静之间既有分割又有联系。

　　作者以干湿兼用的墨色、松动灵活的笔法绘麻雀及树干。麻雀用笔干细，敷色清淡。树木枝干多用干墨皴擦晕染而成，无刻划痕迹，明显区别于黄筌画派花鸟画的创作技法。尽管此图在形势、风格上还较为工致优雅，但在北宋花鸟画中占主导地位的平和、富丽的特色，在崔白的作品中已不见，反映了北宋宫廷花鸟画在审美感受上进入了新的阶段。崔白新创的花鸟画改变了流传百年的黄筌画派的一统格局，推动了宋代花鸟画的发展。

 

--------Introduction in English--------

 

"Hanqiaotu" Volume, Northern Song Dynasty, Cui Baizuo, silk, color, vertical 25.5 cm, horizontal 101.4 cm.

There is a poem written by Emperor Gaozong Hongli of Qing Dynasty. Peng Tiao and Postscript in plain text after the volume.

Picture dead wood and nine sparrows flying or stopping in the meantime. Nine little sparrows scattered among the trees in the state of flying and whistling, forming three groups naturally. The composition is ingenious, the layout is appropriate, and there is both division and connection between movement and static.

The author draws sparrows and tree trunks with both dry and wet ink and flexible brushwork. Sparrows use fine brushes and light colors. The branches and trunks of trees are mostly dyed with dry ink, without scratches, which is obviously different from the creative techniques of Huang Qian's flower-and-bird paintings. Although the picture is elegant in the situation and style, the peaceful and rich features that dominate the flower-and-bird paintings of the Northern Song Dynasty have disappeared in Cui Bai's works, reflecting that the Royal flower-and-bird paintings of the Northern Song Dynasty have entered a new stage in aesthetic perception. Cui Bai's new flower-and-bird painting changed the unified pattern of Huangqi Painting School, which has been circulating for centuries, and promoted the development of flower-and-bird painting in Song Dynasty.