石渠寶笈三編(延春閣),第五冊,頁2130&*故宮書畫錄(卷五),第三冊,頁503&*故宮書畫圖錄,第九冊,頁309-310&*1.譚怡令,〈明人畫花鳥〉,收入譚怡令編,《呂紀花鳥畫特展》(臺北:國立故宮博物院,1995年初版),頁111。 &*湖畔柳樹聳立,杏花盛開,飛燕穿梭柳絮之間,翡翠停棲杏枝,瀆鳧(文鳧)或立或游,構成饒富生趣之春景畫面。這種柳燕、杏花、水禽之春景,常見於呂紀一派的宮廷花鳥畫。本幅畫柳石、羽禽亦出呂紀一派畫法。&*Depicted in this album leaf are withered trees, a flock of crows, thatched but, wooden bridge, and dark grey riverbed and sky. Complementing these motifs are mountains emerging from the distance and bright white snow on both a hill and tree branches in the foreground, thus creating a picture of a greezing cold winter scene. A servant boy is seen walking as he holds a container. His master is reflecting on matters on his table, located in a light vermillion studio which appears to impart a subtle notion of warmth to an otherwise desolate vista. This painting has neither the seal nor signature of the artist. However, judging from the style of the detailed brushwork and light ink washes representing the dimly expansive atmosphere, this work appears to have come from the hand of a late Ming dynasty master of the Sung-chiang school of painting.