石渠寶笈三編(延春閣),第四冊,頁1682 &*故宮書畫錄(卷八),第四冊,頁39&*故宮書畫圖錄,第十八冊,頁37-42&*漢司馬相如作上林賦,敘述天子狩獵於上林苑中。畫者依賦文內容臆寫情境,描繪層巒疊嶂、人物鳥獸、樓閣臺觀、旗輦軍容等等,行筆設色皆細膩精妙,堪稱佳作。 按此卷原籤題元人,與院藏另兩幅傳為明代仇英所繪的上林圖,構圖、設色、用筆都近似,或出自同一稿本,疑皆為後人所摹。&*Ssu-ma Hsiang-ju of the Han dynasty (206 BC-220 AD) composed Ode in the Imperial Forest (Shang-lin fu), describing how the prince went hunting in the imperial forest. In this painting, the artist has composed a scene according to the content of this narrative and included layers of ridges, numerous figures, birds, and other animals, as well as pavilions, terraces, carts, banners, and other interesting details. The flowing brushwork and coloring are fine and elegant, making this an exceptional work. This handscroll has been traditionally attributed to an anonymous artist of the Yüan, but the composition, coloring, and brushwork are all very similar to two paintings of "In the Imperial Forest" in the National Palace Museum collection traditionally attributed to the Ming artist Ch'iu Ying(ca. 1494-1552). Thus, perhaps these three scrolls are later copies based on an earlier original.&*此卷根據漢司馬相如的名作「上林賦」 畫成,描繪漢天子盛大的游獵場景。全畫 分為七段,依次是:虛構人物子虛、烏有 、亡是公三人在屋中對話;在廣闊的江水 游翔的水族與飛禽;天子的離宮別館;天 子校閱游獵的隊伍;天子騎馬展開狩獵的 活動;在樓臺舉行歌舞宴樂;狩獵結束, 返回朝廷。全畫青綠設色,運筆細膩精巧 ,與本院藏另兩幅明代仇英的上林圖同稿 ,作畫的時代也相近。