故宮書畫錄(卷五),第三冊,頁410-411&*故宮書畫圖錄,第九冊,頁43-44&*1.〈明周全射雉圖〉,收入陳階晉、賴毓芝主編,《追索浙派》(臺北:國立故宮博物院,2008年初版一刷),頁174-175。 &* 寒林平野,一人騎馬按弓,轉身接取侍從遞來之箭矢。另一人亦持弓箭,侍立於側,三人均注視左前方振翅飛起的雄雉。人物著對襟襖子,戴闊沿高帽,帽尖綴珠飾或插羽毛。馬騎裝飾繁縟,肢體健壯。俱為工筆設色,精細描繪而成。此圖從騎馬射雉主人翁的體貌、服飾來看,所繪者亦當是明宣宗。背景樹石筆墨蒼勁恣肆,與人物鞍馬之工細不同,構圖及筆法都是明初流行於宮廷的浙派畫風。 作者生平不詳,〔明畫錄〕記載擅於畫馬。依款識職銜和畫風來看,應是活動於宣德前後,地位極高的宮廷畫家。 &*Pheasant Hunting Chou Ch’üan (fl. Ca. 1426-1435) Ming Dynasty Chou Ch’üan apparently was a high-ranking court painter. Though little is known about him, he is recorded in the Biographies of Ming Painters (Ming-hua lu) as a noted painter of horses. On the basis of his title and style, he was probably active during the reign of Emperor Hsüan-tsung. In a wintry forest, a rider turns and reaches for arrows provided by an attendant while another man stands clutching a bow and arrows. Their gaze is focused on the two pheasants in the left foreground that they have just flushed out. The figures and horses are carefully drawn and colored, in contrast to the sketchy trees and rocks of the background. The composition and brushwork are typical of the Che School style, which was popular at the early Ming court. In fact, the rider here, judging from his features and clothing, may even be Hsüan-tsung himself.