宋末元初，趙孟頫領導繪畫變革，將中國繪畫發展的方向，從複製自然的寫實再現轉向筆墨變化的紙上世界，而陳琳所畫的〈谿鳧圖〉，則被視為這場變革的最佳例證。本論文從〈谿鳧圖〉的討論開始，重新確定畫上修改筆墨的歸屬問題，趙孟頫與陳琳間的互動關係，及趙孟頫透過畫工宣講繪畫變革之理念。 趙孟頫透過職業畫工，在花鳥畫科推展書法入畫的理念，日後有逐漸變質的發展。從開始時的樸素復古，最後成為筆墨精緻的墨色花鳥，與山水畫科的發展相較，確實大異其趣。在當時的花鳥畫壇，也無法開拓更大的影響範圍，只能像是一條繪畫支流，靜靜的完成其畫風演變的漫長過程。

In the late Song and early Yuan dynasties Zhao Mengfu 趙孟頫 led a reform in ink painting, transforming it from a representative into an expressive art form, thus establishing the tradition of literati painting. This paper examines “Duck on a River Bank,” traditionally attributed to Chen Lin 陳琳 and regarded as the best example of this new movement in ink painting, in order to establish whether the painting was completed by Chen Lin alone, or whether Zhao had a hand in the process. This analysis is the first step in reviewing the connections between Zhao and Chen Lin and how he used such influence over professional painters to gain wider acceptance of his reforms. Zhao Mengfu used his influential position to introduce into flower-and- bird paintings the idea of using calligraphy in painting, but later this was to gradually change. What began as a plain, back-to-the-ancients style, evolved into sophisticated and colorful renderings of flowers and birds, contrasting greatly with the development of landscape painting. Zhao was unable to broaden his early influence, never achieving the mainstream within flower- and-bird painting circles, and as a result his reforms became merely a branch of ink painting. He could only quietly continue the process of evolving and endlessly refining his particular style of painting.