款識：
石魯。

鈐印：「石魯」。

-Generally in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

註：石魯藝術風格多變，從寫實、寫意以至狂放，反映了他坎坷
曲折的人生道路及性格發展。本幅無紀年，若對比其六十年代初
的一系列人物作品，可知屬相若時間所出。是時筆下人物，不少
已見簡約以至迹近抽象處理，正是偏重神韵，不求外形細節的描
繪。多以色墨烘染物象形體，偶添幾筆綫條，稍稍加強其輪廓，
得點晴之效。但如本幅村夫荷鋤，驅鴨群結伴而歸，畫面僅採赭
色調墨下的深淡變化，透過暈散而生積叠效果，近乎抽象地點出
了畫中人與物的關係。這種大膽簡鍊而具實驗性的手法，即使在
其系列人物畫中殊屬稀見。視覺效果強烈，將生活化題材提升至
抽象美感的境界。相類者或可見於一九六○年的〈晨曦尋肥〉，畫
中枯樹下挖肥的農民，與驅鴨村夫的處理同出一轍，亦可引証創
作時期之接近。

參考資料：
〈晨曦尋肥〉可參見〈石魯作品集．人物〉（陝西人民美術出版社，
一九八五年，五月），頁62