石渠寶笈三編(延春閣),第四冊,頁1604 &*故宮書畫錄(卷八),第四冊,頁65 &*故宮書畫圖錄,第四冊,頁245-246&*王淵(約西元一二八0—一三四九年以後),浙江錢塘(今杭州)人,字若水,號澹軒。他的生平不詳,據元末時期的記載,他早年學畫時,曾受到趙孟頫的教導,學得許多古人的畫法。他擅長山水和花鳥,尤其精於工筆花鳥畫,高超的描繪技巧可以媲美宋人。 坡岸一角,以枯柳、翠竹、丹葉為伴,三隻雪白的鷺鷥,或翹首,或遠眺,或俯視,各逞其優雅的姿態。用筆工細,設色穠麗,但構景單純,留出大片空白,具有一種清新高雅的氣韻。&*Wang Yüan, style name Jo-shui, sobriquet T'an-hsüan, was a native of Hangchow, Chekiang province. Although biographical information is scant, according to late Yüan sources, when Wang Yüan studied painting early in his life, he received guidance from Chao Meng-fu and learned the styles of many ancient masters. He excelled in landscape and bird-and-flower painting, and he was particularly skilled in using meticulous brushwork while painting birds and flowers. His outstanding painterly techniques can measure up to those of the most skilled Sung dynasty masters. A willow with withered leaves, green bamboo, and a tree with red leaves are situated on a sloped bank in one corner of the painting. Three snow-white egrets-one raising its head, one looking down, and one looking off into the distance-are depicted in this scene. The artist has captured their elegant poses. The brushwork is fine, and the coloring is exquisite. The rather simple composition, with a large area left unpainted, creates a pure and fresh atmosphere.