梅尧臣尝题其《胡人下马图》云“毡庐鼎列帐幕围，鼓角未吹惊塞鸿。”曲尽塞外寒漠之景。明都穆见其《番骑图》称：“黄沙野蒿，鞭马疾驰，非余之目击，则也莫能知其妙也。”《宣和画谱》著录御府所藏其作品有《卓歇图》《牧马图》《番骑图》等65件。传世作品有《卓歇图》卷(“卓歇”意为牧人搭起帐篷歇息)，绢本，设色，纵33厘米，横256厘米，卷后有清代高士奇、张照等人题跋。现藏故宫博物院。

《卓歇图》卷，五代，胡瓌作(传)，绢本，设色，纵33cm，横256cm。

该图旧传为五代契丹画家胡瓌作。据画中大多数人物髡顶、脑后垂双辫的发式和方顶黑巾等特点，当属金代女真人的风俗，故极可能出自金代汉族画家的手笔。

全卷画女真贵族在狩猎歇息时邀南宋使臣宴饮观舞的情景。前半段为立歇部分，马背上的猎物点缀了人马刚从追逐和喧闹中转入了静态。马群的尽头是走向乐舞场地的捧花女，把歇息和乐舞两段有机地结合起来。舞蹈者在箜篌的伴奏下跳跃，构成全图的高潮，显示了作者处理大场面中人马动静、聚散的艺术能力，充满了浓厚的北方草原民族的生活气息。

　引首有清代张照书“番部卓歇圖”，乾隆帝作《卓歇歌》，尾纸有元代王时、清代高士奇、张照的跋文。

该图经清阮元《石渠随笔》、高士奇《江村书画目》、清内府《石渠宝笈·续编》著录。

 Hu Ju (Five Dynasties, Late Tang Dynasty) was a member of the Usogu tribe of Qidan in the back of the mountain. With Li Keying (856-908) into the Central Plains, settled in Fanyang (Zhijin Zhuoxian County, Hebei Province), the year of birth and death is unknown. He is good at describing the life of nomadic horses and hunting in the north. He is well-known for his dome and hunting equipment and shooting subordinates. The role of the pen is vigorous, the composition is clever and compact, the character temperament is fierce, the image is different. The skeleton of the horse is vivid and spiritual.

Mei Yaochen tried to inscribe his "Hu people dismounted from Ma Tu" in which he said that "the felts and luxuries were all around the tents, but the drum horns did not alarm Saihong." The scenery of cold desert outside the blockade. Ming Dumu said in his Pan Qian Tu: "Artemisia annua, whip horse galloping, not the rest of the eyewitness, also can not know its magic." Xuanhe Pictures Record 65 works of the imperial palace, such as Zhuo Xitu, Muma Tu and Pan Qitu. The handed down works include Zhuo Xietu Volume ("Zhuo Xietu" means that the herdsmen set up tents to rest), silk, color, 33 cm in length, 256 cm in breadth, and the inscriptions and postscripts of Gao Shiqi and Zhang Zhao in the Qing Dynasty. The Palace Museum is now hidden.

Zhuo Xietu Volume, Five Dynasties, Hu Ba Zuo (biography), silk, color, vertical 33cm, horizontal 256cm.

The picture was handed down to Hu Qidan, a painter of five generations. According to the characteristics of most figures in the painting, such as the top of the bun, the hair style with double braids and the square top black towel, it is the custom of Nuzhen people in Jin Dynasty, so it is very likely to come from the hand brush of Han painters in Jin Dynasty.

The whole scroll depicts the scene of Nuzhen noble inviting envoys of the Southern Song Dynasty to dinner and dance during hunting rest. The first half is the standing and resting part. The prey on the horse's back is decorated with human and horse, which has just changed from chasing and noisy to static. At the end of the horse herd is a flower girl who walks to the music and dance venue and organically combines rest and dance. Dancers leap with the accompaniment of the harp, forming the climax of the whole picture, showing the artistic ability of the author to deal with the movement and dispersion of people and horses in the grand scene, and full of the strong flavor of life of the northern grassland nation.

The preface includes Zhang Zhaoshu of Qing Dynasty, Emperor Qianlong's Zhuo Xie Song, and the postscript of Wang Shi of Yuan Dynasty, Gao Shiqi and Zhang Zhao of Qing Dynasty.

This picture was recorded by Ruan Yuan's Essays on Shiqu, Gao Shiqi's Bibliography of Jiangcun Calligraphy and Paintings, and Shiqu Baodu, a sequel to the Qing Neifu.