| 【類別】 | 【參考資料】 |
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收藏著錄
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石渠寶笈初編（養心殿），上冊，頁667
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收藏著錄
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故宮書畫錄（卷五），第三冊，頁59
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收藏著錄
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故宮書畫圖錄，第一冊，頁247-248
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參考書目
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1.林柏亭，〈宋崔白雙喜圖〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁80-81。
2.童文娥，〈宋崔白雙喜圖 軸〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁178-183。
3.譚怡令，〈雙喜圖〉，收入林柏亭主編，《國寶菁華 — 書畫‧圖書文獻篇》（臺北：國立故宮博物院，2006年12月），頁198。
4.杜書華，〈國之重寶 — 書畫精萃特展〉，《故宮文物月刊》，第19期（1984年10月），頁26。
5.杜書華，〈宋崔白雙喜圖〉，《故宮文物月刊》，第100期（1991年7月），頁74。
6.童文娥，〈院體花鳥畫的變格 — 崔白雙喜圖〉，《故宮文物月刊》，第281期（2006年8月），頁52-58。
7.李霖燦，〈故宮博物院的名畫寶藏(上)〉，《故宮季刊》，第十三卷第四期（1979年夏），頁69-83。
8.李霖燦，〈蘇東坡詩和崔白雙喜圖─論宋畫闊絹狹絹問題〉，《故宮學術季刊》，第二卷第一期（1984年秋），頁1-8。
9.《崔白雙喜圖》（台北：國立故宮博物院，1983）。
10.陳韻如，〈宋崔白雙喜圖〉，收入蔡玫芬主編，《精彩一百 國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁264。
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參考書目
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國立故宮博物院編輯委員會，〈宋崔白雙喜圖 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁80-81。
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內容簡介（中文）
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崔白，字子西，安徽鳳陽人。仁宗時（西元1023-1063年）為畫院藝學，神宗時（西元1067-1085年）以性疏闊，辭去畫職。善花竹翎毛。
本幅繪山喜鵲二，一展翅騰空，一俯身鼓噪，下有野兔悠然昂首回顧，呼應密切，動態活躍欲生。鵲、兔以精筆繪成，而坡土、樹幹以粗筆寫就，粗細對照，和諧得宜。
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內容簡介（中文）
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崔白（活動於十一世紀後半），字子西，安徽鳳陽人。仁宗時（1023－1063）為畫院藝學，神宗時（1067－1085）以性疏闊，辭去畫職。善花竹翎毛。 本幅繪山喜鵲二，一展翅騰空，一俯身鼓噪，下有野兔悠然昂首回顧，呼應密切，動態活躍欲生。鵲、兔以精筆繪成，而坡土、樹幹以粗筆寫就，粗細對照，和諧得宜。(20061206)
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內容簡介（英文）
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Ts'ui Po, style name Tzu-hsi, was a native of Feng-yang in Anhwei and served in the Imperial Painting Academy under Emperor Jen-tsung (r. 1023-1063) as a Painting Student. Under Emperor Shen-tsung (r. 1067-1085), his unbridled nature led him to quit the Academy. As a painter, he was especially talented in painting birds, animals, flowers, and bamboo. This painting depicts a pair of wild magpies, one of which hovers above with wings outstretched as the other shrills out from a branch. Beneath them, a hare raises its head casting a glance behind in response. The intimate balance and interaction of the various pictorial elements imparts a sense of life to the painting, and the delicate brushwork for the magpies and hare contrasts harmoniously with the coarser brush strokes for the slope and tree trunk.(20061206)
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內容簡介（英文）
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Ts’ui Po was a native of Feng-yang in Anhui Province who served in the Imperial Painting Academy during the reign of Emperor Jen-tsung(1023-1063). He was especially talented in painting birds, flowers, and bamboo.
This painting depicts a pair of magpies, one of which hovers above with wings outstretched, while the other shrills from a branch. Beneath them a hare raises its head to cast a glance behind. The intimate balance of the various pictorial elements imparts a sense of life to the painting. The delicate brushwork of the magpies and hare contrasts harmoniously with the blunt brushwork of the hillside and the tree trunk.
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網頁展示說明
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崔白（活動於11世紀後半），字子西，安徽鳳陽人。宋熙寧初，恩補畫院中圖畫院藝學。結合工細和放逸的筆法，展現個人面貌，為北宋花鳥名家。
本幅為崔白代表作，樹幹上有「嘉祐辛丑年（1061）崔白筆」的款署。全作充分掌握灰喜鵲捍衛地域的本能和野兔的及時反應，呈現自然界精采的一瞬間，並結合構圖上弧型走向的律動美感，以及隨著物形變化的豐富筆墨，為形神兼備的典型北宋院畫作品。
(20110913)
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網頁展示說明
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Cui Bo (style name Zixi), a native of Fengyang in Anhui, was granted the favor of a supplementary appointee as an Art Student (“Yixue”) in the Painting Academy at court during the early Xining reign. His brush manner combined delicately fine and untrammeled coarse styles to express his own individual appearance, and he was a famous bird-and-flower painter of the Northern Song.
This is a representative work by Cui Bo, his signature for “Brushed by Cui Bo in the ‘xinchou’ year of the Jiayou [reign, 1061]) ” appearing on the trunk of the tree. The work fully grasps the instinct of azure-winged magpie in defending its territory and the hare’s timely response, presenting a fascinating moment from the world of nature. Combining the rhythmic aesthetic of an arcing movement in the composition and rich brush and ink that varies with the subjects it depicts, it makes this a classic Northern Song work of the Painting Academy fusing both form and spirit.
(20110913)
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