故宮書畫錄(卷八),第四冊,頁165 &*畫面充滿豐富的物像,有巨大玲瓏的太湖石,棲息於平坡上的鹿群,柳樹下的紅曲橋,在前景一路蜿蜒開著紅花的籬笆,策杖文士和友人進入的石洞、石洞右後方的草亭,以及左後方捲起簾子,案上放著香爐的小軒等。明代流行的園林齋室圖,除了以冊頁形式分作數開描繪不同景點,又常選擇以橫卷的形式將景點連綴起來。此作似不甘受到扇面尺幅的限制,將原本可以演繹為一長卷的各式景象,濃縮在此扇面中。順著扇褶的推展,呈現在觀者面前。(20100713)&* In this painting filled with a rich abundance of motifs are huge and exquisitely wrought Lake Tai garden rocks, a flock of deer at rest on the level area by the red-railed bridge beneath willow trees, a thatched fence with red blossoms by the winding path in the foreground, a scholar holding a staff proceeding with his friend through the stone grotto, the thatched kiosk to the right behind the grottoes, and the longer building to the left with a table and an incense burner on it. Such garden studios were popular in the Ming dynasty. Not only were their various scenes painted separately as album leaves, artists also often chose the long handscroll format to connect them together. Here, Wen Boren apparently was not confined by the limitations of a folding fan, perhaps taking a design originally meant for a handscroll and compressing it into this composition. The viewer can follow the folds of the fan and appreciate the scenery.(20100713)