The painting’s central subject is a mounted hunting scene with two riders, a stocky hunting dog, and sparse surroundings—elements that mark a departure from the refined courtly themes of the Southern Song. A blurred seal mark in the lower left corner remains unreadable, rendering the work anonymous. However, clues within the scene may point to a Yuan Dynasty context. The martial focus and dynamic pursuit reflect the broader shift under Mongol rule when horseback hunting emerged as a favored theme.

Despite its anonymity, several key details reinforced a Yuan attribution. The right figure’s Boli hat (钹笠帽), quiver, and stirrup design all suggest steppe influences, while red tassels adorning the horse’s front and chest mirror regalia seen in definitive Yuan works such as Khubilai Khan Hunting (《元世祖出猎图》) and Autumn Hunting (《元人秋猎图》). The left figure’s white robes and falcon align with Mongol nobility’s codes, where white signaled status and falconry denoted elite privilege. Both figures reject Tang-Song decorative excess, emphasizing utilitarian nomadic gear like leg wraps (xingteng/行滕) and armored skirts. Biological traits further anchor a Yuan dating: the horses’ stocky builds match Mongol steppe breeds, in contrast to the taller, more slender Tang-Song depictions. The local hunting dog underscores the painting’s historical milieu. Stylistically, its concise anatomical outlines, loose drapery, and sparse backgrounds—relying on negative space—exemplify Yuan transitional brushwork, diverging from Song landscape precision and Ming decorative flair. The flat, monochromatic coloring likewise aligns with Yuan ink aesthetics.

Under Mongol rule, martial themes like mounted hunting superseded traditional Song subjects. The painting likely dates to the Yuan or early Ming period, reflecting how Han painters adapted the fall of the Southern Song. Mongol patrons favored horseback hunting over refined Song traditions. The combination of nomadic realism with restrained brushwork aligns with authentic Yuan works, marking it a Mongol–Han hybrid. Although it inherits certain Song influences, its cultural elements and pared-down style set it apart from more ornate Ming pieces, affirmingmarking a Yuan-era origin most plausible.

这幅骑马狩猎图中，有两位骑者、一只体型敦实的猎犬，以及简洁稀疏的环境——这些元素与南宋时期精致的宫廷主题有所不同。画面左下角的模糊印章已无法辨认，使这幅作品的作者成谜。然而，画面中透露的信息或可暗示其与元代有关。其尚武特征以及富有动感的追逐场景，体现了蒙古统治时期的总体转变——马背狩猎成为备受青睐的主题。

虽然画作无名，但其中若干关键细节佐证了其可能的元代归属。右侧人物所戴的钹笠帽、身上的箭袋以及马镫的式样都带有草原文化的影响；而马前与胸部的红缨饰，也与确凿的元代作品如《元世祖出猎图》和《元人秋猎图》中的礼饰相呼应。左侧人物所穿的白袍以及所携猎鹰符合蒙古贵族的习俗——白色象征身份地位，鹰隼狩猎则代表精英特权。两位人物都摒弃了唐宋时期繁复华丽的装饰，更着重于游牧实用装备，如行腾和带护甲的裙装。画中马匹的生理特征亦可支持元代的推断：这些马体格矮壮，与蒙古草原马种相符，而并非唐宋时期常见的高大修长之型。图中本地猎犬也与当时的历史风貌相呼应。就风格而言，简洁的解剖性线条、宽松的衣褶与空白背景留白反映了元代过渡时期的画作特点，与宋代精细的山水描绘和明代的装饰性风格有所区别。再加上画面平涂、单色调的处理，也符合元代水墨的审美。

在蒙古统治下，尚武题材如马背狩猎取代了传统的宋代题材。此画大概率创作于元代或明初，反映了南宋灭亡后汉族画家对新环境的适应。蒙古时期的收藏更偏好马背狩猎，而非南宋的精致趣味。游牧写实风格与简约笔法的结合，契合了典型的元代气质，可视为一种蒙古与汉的混合创作。尽管它保留了部分宋代影响，但其中的文化元素与简练风格已将其与更为华丽的明代作品区别开来，因而最有可能断定为元代时期的作品。