此卷白描行笔流畅自如，毫无滞涩之感。清空放荡的笔意，淋漓尽致地表现了人物个性化的神情。大多数卷中人物互有照应，赞词与图中人物从右至左对应。最后落款为“渔庄陆谦法李龙眠笔於西泠之竹猗草堂”。“天保乙未（1835）秋赫洲写。”又据末尾著作堂老人跋语称：“右清陆谦画水浒一百八人像赞，以耕云外史南溟摹写卷轴再写焉，南溟落款壬辰夏五月偶见此轴，不觉故舞，因摹其图云云。 像赞误写甚多，今推文而改正毕。著作堂。 ”可知，此人物画原为清代画家陆谦创作，后为日本画家临摹。
This volume of line drawing is smooth and free of stagnation. Emptying the dissolute brushwork vividly shows the personalized expression of the characters. Most of the characters in the volume refer to each other, and the compliments correspond to the characters in the picture from right to left. The final signature was “Yu Zhuang Lu Qian Fa Li Long Mian’s pen was written in Zhuyi Thatched Cottage in Xiling”. “Tianbao Yiwei (1835) was written by Qiu Hezhou.” According to the postscript of Tang Laozi at the end of the book, “Lu Qian of the right Qing Dynasty painted a portrait of the water margin of the hundred and eight people, and then wrote it again by copying the scroll of Nan Ming, the external history of Gengyun. Nan Ming signed the scroll of Ren Chen in the summer and May, and occasionally saw the scroll, but he didn’t realize that he was dancing because he copied the picture. There were a lot of mistakes in the portrait, and now he has corrected it.” It can be seen that this figure painting was originally created by Lu Qian of the Qing Dynasty, and then copied by a Japanese painter.

历史上的今天 ( 7 )：