石渠寶笈三編(延春閣),第四冊,頁1546&*故宮書畫錄(卷五),第三冊,頁150-151&*故宮書畫圖錄,第三冊,頁125-126&*1.陳韻如,〈行走於蒙元的藝廊裡 — 「大汗的世紀」特展 元(原題宋人)畫鷹〉,《故宮文物月刊》,第225期(2001年12月),頁14。 &*一隻白鵝游於湖上,抬頭望著杏花,此景與「宮娥望幸」正有諧音之趣。畫幅上鈐有「內府圖書之印」,這方印是北宋的官印,古人據此訂為宋人作。然此方「內府圖書之印」與唐玄宗「鶺鴒頌」、易元吉「猴貓圖」上所鈐之「內府圖書之印」相比對,本幅的印章有存疑之處。本幅雖有追法宋人花鳥畫之意,但無論是畫柳樹,或皴石頭、或畫羽禽,均屬呂紀一派典型畫風。&*A white goose, swimming in a lake, raises its head to look at the apricot blossoms. This scene, because of a clever pun, represents the wish that the emperor will grace one with his presence. Because this painting bears the seal of the Imperial Palace Treasury (Nei-fu t'u-shu chih yin) of the Sung dynasty, it has been attributed to a Sung dynasty artist. However, comparing this seal with the authenticated ones on Ode to Pied Wagtails by Hsüan-tsung of the T'ang dynasty (618-907) and Monkey and Cats by I Yüan-chi (11th cent.) this seal may be spurious. Although the artist attempted to paint this work in a Sung style, every element, whether the willow tree, the rocks, or the goose, belongs to a style of painting typical of the school of Lü Chi.