石渠寶笈三編(御書房),第七冊,頁3093&*故宮書畫錄(卷八),第四冊,頁73&*故宮書畫圖錄,第五冊,頁339-340&*本幅無名款。繪垂楊文石,環以曲檻。一童擎荷蓋,一執榴花,一持五毒宮扇,官服髻髮。兩童持几,几供鍾馗,旁設瓶花、水果、粽子等物。一兒以繩繫蟾蜍,一兒後隨作戲蟾狀。 細審人物之開臉,及庭石之苔點畫法,頗近於明代中期之後的風格。院藏另有「元人秋景戲嬰」、「元人畫冬景戲嬰圖」二軸,尺寸、畫法與此作相似,或許當初係屬同一組「春夏秋冬」之四季掛屏,惜今「春景戲嬰圖」已佚,故難以復原全豹矣。&*This painting bears neither seal nor signature of the artist. Depicted are drooping willow branches, decorative rocks, and the zigzagging railing of a garden scene. Of the children shown here, the one in the upper right holds a lotus leaf as a parasol and another holds a branch of pomegranate blossoms. The boy in blue holds a fan decorated with the Five Pestilences associated with the Double Fifth festival and wears his hair in a topknot. Two boys in front of him carry a platform with an image of Chung K'uei and offerings of flowers, fruit, and rice dumplings. In the foreground, a boy leads a toad on a string and is followed by another boy chasing afterwards in joy. Judging from the figures, especially their faces, and the technique of adding "moss dots"to the rocks, this painting appears to date from the middle Ming (1368-1644) or later. Two other hanging scrolls in the National Palace Museum ("Children Playing in Autumn" and "Children Playing in Winter") are similar to this work in size and style. Perhaps they all may have once belonged to a set of scrolls or screen depicting the four seasons. The representation of spring, however, does not appear to survive, making reconstruction difficult.&*1.劉芳如,〈元人夏景戲嬰〉,收入劉芳如、葛婉章編,《嬰戲圖》(臺北:國立故宮博物院,1990年四月初版),頁87。 2.劉芳如,〈傳元人夏景戲嬰〉,收入國立故宮博物院編輯委員會編,《迎歲集福 — 院藏鍾馗名畫特展》(臺北:國立故宮博物院,1997年二月初版一刷),頁138-139。 3.劉芳如,〈迎歲集福 — 院藏鍾馗名畫特展〉,《故宮文物月刊》,第167期(1997年2月),頁102。