石渠寶笈續編(重華宮),第三冊,頁1546&*故宮書畫錄(卷五),第三冊,頁122&*故宮書畫圖,第二冊,頁319-320&*山嶺由畫幅下端往上延伸,堆疊滿紙,在繁複豐實的山石中,以溪澗的穿流,形成丘壑變化,並得到虛實相兼之趣。本幅山石皴法近似范寬雨點皴,畫寒林枯枝似郭熙蟹爪法,而整幅畫風與「荊浩匡廬圖」甚為相像。&*A mountain range stretches from one end of the painting to the other, its layers filling the entire composition. A flowing stream threads its way through the mass of rocks and peaks, changing the appearance of the hills and ravines where it passes, creating interesting contrasts between emptiness and volume. The texture strokes of rocks and mountains are similar to the "raindrop" strokes of Fan K'uan; the withered branches of the wintry forest resemble Kuo Hsi's "crab claws." The character of the painting as a whole, however, calls to mind the paint Mount Lu by the ninth-century painter Ching Hao.