故宮書畫錄(卷五),第三冊,頁152 &*故宮書畫圖錄,第三冊,頁131&*秋郊野地,草葉轉於枯黃,野生的數莖高梁,禾穗纍纍,已是秋收的季節了。莖葉之下,五隻鵪鶉遊憩其間,另有文鳥四隻停棲於上,或理羽,或啄食禾粒。本幅雖無作者名款,然構圖筆法精嚴,各物皆栩栩如生,定當出自畫院畫家之手。其中鵪鶉的部份和北宋崔愨的「杞實鵪鶉」的韻味相同;而高梁的部份若與明呂紀的「草花野禽」相比,「草花野禽」的用筆顯然較有提頓轉折的變化,而此幅則有著南宋流暢纖緻之意。另取「鵪」和「安」字,「禾」和「和」字同音,定名為「安和圖」,成為一幅具有吉祥意義的作品。&*秋郊荒原,草葉皆歸枯黃,野生高梁數莖,禾穗垂垂,莖葉下,山雀鵪鶉四五,游息其間。 本幅雖無作者名款,然畫法精嚴,形象逼肖,應出畫院高手無疑,題名安和圖,取「鵪」「安」,「禾」「和」諧音,以肇吉祥。&*The grasses and leaves of the autumn countryside have already begun to yellow and decay. A number of quail and mountain sparrows have flocked to a cluster of wild sorghum, whose stalks hang heavy with ears of grain. The title of the painting is actually a literary pun and connotes auspiciousness, as the Chinese characters for peace (an) and harmony (ho) are homophonous with the characters for quail (an) and sorghum (ho). Although this painting is unsigned, its quality and style indicate that it is the work of one of the foremost academy painters.