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They are, however, different in the stroke of the brush and composition; it is assumed that many of them were actually created in the generation of Sesshû's disciples. This work places flowers, trees, birds, rocks etc. flatly in the front, and thus lacks sense of depth. Moreover, a large plum tree is placed in the center of the left screen, which is a characteristic not seen in the two versions above. These characteristics show a new trend eventually leading to the style of painting on Japanese screens in the Momoyama period, and indicate a beginning transformation of paintings of birds and flowers of the Sesshû school.\n","@language":"en"},{"@value":"　传为雪舟所作的花鸟图屏风有十余种，其中包括最接近雪舟笔法、体现古典风格的小坂家本、前田育徳会本等。这些作品在笔致和构成上均有差异，估计多数为雪舟的弟子一代所作。本图以花、树、鸟、石等为前景形成一个平面的构图，缺少纵深感。另外，在左侧屏风上，巨大的海树雄踞在中心部分，这是前述两版本中所没有的特征。这些特征表明了向桃山时代屏风画过渡的新倾向，由此可见雪舟派花鸟画的变化。\n","@language":"zh"},{"@value":"셋슈 작으로 추정되는 화조도(花鳥圖) 병풍은 셋슈의 붓과 가장 가깝고 고전적 작풍을 보이는 고사카케본(小坂家本), 마에다이쿠에이카이본(前田育德會本)을 비롯하여 10 여종이 있으나, 모두 필치나 구성 등에 차이가 있어, 그 대부분은 셋슈의 제자 세대에 제작된 것으로 추정된다. 이 작품은 꽃과 나무, 새, 바위 등을 전경(前景)에 평면적으로 구성하기 때문에 깊이를 그다지 느낄 수 없다. 또 좌측 중심에 큰 매화나무를 배치한 것은 앞 양본(兩本)에서는 볼 수 없는 특징이다. 이런 특징은 모모야마 시대의 장지ㆍ병풍화에 이어지는 새로운 경향을 나타내고 있어, 셋슈계(雪舟系) 화조화(花鳥畵)의 변화를 볼 수 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