石渠寶笈三編(延春閣),第三冊,頁1484&*故宮書畫錄(卷八),第四冊,頁58&*故宮書畫圖錄,第二冊,頁89-90&*蘇焯,河南開封人,蘇漢臣子,善畫道釋、人物,畫能繼承父風。宋隆興時(西元1163-1164年)任畫院待詔。本幅設色畫三嬰兒,一兒左手執折枝雙榴,右手以繩繫蟾蜍,欲置一兒頭上,一兒兩手捧頭,蹲坐地上,狀甚驚恐,一兒躍前欲奪之。三嬰兒表情姿勢互異,容貌圓渾可愛,筆致工穩,衣衫圖案細膩,褶紋處用筆勁挺,設色淳雅。&*Su Tsuo, a native of K'ai-feng, Honan, was the son of Su Han-ch'en. He followed in the footsteps of his father, specializing in the painting of figures and religious subjects. He was made Painter-in-Attendance during the Lung-hsing reign (1163-1164) This painting depicts three children. One holds a broken branch with two pomegranates in one hand; his other hand controls a toad at the end of a string which he wants to put on his friend's head. The little boy squats with his head in hands, his expression full of fear. A third boy jumps forward to the rescue. The expressions of the three children are all very different, and are all attractively portrayed. The brushwork is fine and understated. The clothing in particular, is carefully designed and is depicted with strong brushwork. The colors are applied with purity and elegance.&*蘇焯,蘇漢臣子,善畫道釋、人物,畫能繼父風。畫三孩兒,一兒以繩繫蟾蜍,作弄一兒頭上,一兒躍前欲奪之。三孩兒表情姿勢各異,容貌圓渾,筆致工穩,設色淳雅。&*Su Tso, the son of Su Han-ch'en, followed his father, specializing in painting figures, especially children and religious subjects. He was made Painter-in-Attendance at court during the Lung-hsing era (1163-1164). This painting depicts three children. One holds a branch with two ripe pomegranates in one hand and, in the other, hangs a toad at the end of a string over another child's head. The little boy squats with hands over his head, his expression full of fear. A third boy jumps to the rescue. The expressions of the children are rendered with vigor, using fine and understated brushwork. The clothing is carefully designed and done with strong brushwork, while the colors are pure and elegant.&*1.劉芳如,〈宋蘇焯端陽戲嬰圖〉,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85。 2.朱惠良,〈宋蘇焯端陽戲嬰圖〉,《故宮文物月刊》,第15期(1984年6月),封底。