“文人画”在明代绘画史中占有重要地位,其作品与所题诗文往往形成互文关系,体现出较为复杂的含义。中国国家博物馆藏明代赵金《江村渔乐图》历来少被关注,而此图可能是其唯一传世作品。赵金为明代隐士,长于诗词文章,与当时名士多有往来,在当时江南文化圈中具有相当的声望。本文认为,将《江村渔乐图》置于整个文人“渔父文化”的脉络中进行阐释有其合理性。该作品所显现出的特征及其图像与之后的题跋,不仅是对赵金、文徵明等人精神追求的诠释,更体现了当时文人在“入世为官”与“出世隐居”之间徘徊不定的复杂心态。 “Literati painting ” occupies an important position in the history of painting in the Ming Dynasty. His works and his poems often form intertextual relations, which reflect more complex meanings. Chinese National Museum of the Ming Zhao Ming “Jiangcun fishery map” has traditionally been less attention, and this map may be the only works handed down. Zhao Jin Ming Dynasty hermit, longer than poetry articles, and the celebrities at the time there are more contacts, at the time of the Jiangnan cultural circle has considerable prestige. This paper argues that it is reasonable to interpret “Jiangcun Fishing Legends” in the context of the entire literati “fisherman ’s culture ”. The characteristics of the work and its images and the inscriptions afterwards are not only the interpretation of the spiritual pursuits of Zhao Jin and Wen Zhengming but also the literati ’ "Between the complex wandering uncertain state of mind.