故宮書畫錄(卷八),第四冊,頁35&*故宮書畫圖錄,第十六冊,頁307-312&*陳居中,嘉泰間(西元一二0一至一二0四年)畫院待詔。工畫人物,亦擅蕃族人馬。宋元載籍關於陳氏之資料極少,至明則時見其作品流傳之記載,而以人馬題材居多。元柯九思推許陳氏之作,不亞於宣和蕃馬名家黃宗道。 胡騎策馬奔馳,或挽弓射鹿,或持鞭擊狐,一場緊張刺激的圍獵場面,在廣濶的秋原上展開。後段,有一人跪獻獵物,受禮者當為領袖,有二騎護衛,一騎掌帽隨侍。從行獵者的衣冠,鞍具看來,應是遼金系之邊塞民族。&*Ch'en Chü-chung was an attendant in the Painting Academy during the Chia-t'ai Era (1201-1204) who specialized in painting figures on Mongolian horses. Although he is rarely mentioned in Sung and Yüan writings, references to his works occasionally appeared during the Ming. Most of these record his skill as a painter of nomadic tribesmen on horseback. The Yüan painter K'o Chiu-ssu praised Ch'en's work as being as fine as that of Huang Ts'ung-tao, a well-known horse painter of the Hsüan-ho period of the Sung Dynasty. Nomadic riders whip their horses forward at a gallop. Some draw their bows to shoot deer, while some raise their whips to strike at foxes. A tense and exciting scene of hunters encircling their game on a vast plain is occurring. To the rear of the composition, a man kneels to present his quarry. The man receiving this gift is apparently the chieftain; two men on horseback ride beside him. One of these mounted attendants holds his hat on a pole. The hunter's costumes and equipage indicate that this group is of the Liao-chin people from Manchuria.&*1.林柏亭、張華芝,〈宋陳居中出獵圖〉,收入林柏亭、張華芝編,《畫馬名品特展圖錄》(臺北:國立故宮博物院,1990年元月初版),頁89。