石渠寶笈三編(延春閣),第四冊,頁1692&*故宮書畫錄(卷五),第三冊,頁263&*故宮書畫圖錄,第五冊,頁209-210&*日已斜掛,遠處重嶺,煙嵐迷濛,村居隱現。前景岸上有柳石環成一狀似舞台之空間。一牧童正為牛繫紖牛首偏倚,尾巴輕擺,溫馴乖巧。另有三牛臥地休憩。一體大健碩,花白相雜;另二當為母子,雙目相對,愛意無限。旁有一牧童以簑代蓆,枕膝而眠,面容祥悅,彷入好夢。身後卻有同伴惡作劇而至。 柳樹幹老槎枒,而枝嫩幼葉;遠方桃林花開繁茂,點綴地通幅春意盎然。樹石繪法與元意趣類明浙派風格,或為其先驅。&*The sun is setting as the late afternoon wanes. In the distance, peeking out from the rich haze and mist, are serried peaks. A village is seen half-hidden. The foreground is a stagelike space encircled by willows and rocks. A herdsboy is fixing the tether of his tame ox. Three other oxen lie down in rest. Two of the three seem to be mother and child, gazing at each other with deep affection. At the side, a herdsboy sleeps atop his coir jacket with a pleasant facial expression as if enjoying a nice dream. Behind him his companion appears to be up to no good. In the distance, peach trees bloom luxuriantly. Their scattered dots fill the picture with the flavor of spring. The style of this painting in the trees and rocks, as well as the overall mood suggests the Che School of the Ming dynasty. If a Yüan painting, it adumbrates the Che School style.