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收藏著錄
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石渠寶笈初編（養心殿），上冊，頁660
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收藏著錄
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故宮書畫錄（卷五），第三冊，頁309
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收藏著錄
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故宮書畫圖錄，第六冊，頁339-340
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參考書目
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1.〈明林良畫鷹圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁176-177。
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參考書目
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童文娥，〈明林良畫鷹 軸〉，收入童文娥主編《十指春風—緙繡與繪畫的花鳥世界》（臺北：國立故宮博物院，2015.04），頁260-265。
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內容簡介（中文）
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林良（活動於西元十五世紀後半），廣東南海人，字以善。明英宗天順年間（西元一四五七－一四六三年）供奉內廷。工花鳥，特善水墨作畫，時將草書之法融於畫中。 兩鷹卓立，筆墨豪放，而有磅礡之氣勢。樹木枝葉用筆剽疾，有飛舞使轉之意，畫史所謂林良以草書入畫，即指此等。
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內容簡介（英文）
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Two Eagles Lin Liang (active 1457-1463) Ming Dynasty Lin Liang, style name I-shan, a native of Nan-hai in Kwangtung Province, served as a court painter during the reign of T’ien-shun (1457-1463), Best known for his monochromatic paintings of birds and flowers, he skillfully employed the brush methods of cursive calligraphy in his ink paintings. Two eagles standing alone are described with vigorous, unrestrained brushwork which vividly captures their fierce character. The sinuous lines, describing the branches and leaves, evidence rapid movements of the brush. This type of brushwork resembles cursive script, a highly abbreviated and fluid style of calligraphy admired for its beauty and expressiveness. Hence, the statement in traditional Chinese histories that Lin Liang used the techniques of cursive style in painting may well refer to the type of brushwork seen in this scroll.
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