《白描仕女画》轴，清，华嵒绘，绢本，墨笔，纵82厘米，横32.2厘米。
此图绘一端庄文弱的女子，低头垂目，双手笼袖，侧身坐于藤木秀榻上。侍女手捧书函正急步送上前来。此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。构图奇巧，画幅的上半部没有一笔字画涂抹，人物及款题均置于下半部。大面积的空白位于人物的上方，扩展了人物上部的空间，同时又以“此时无声胜有声”的暇想意境充实了画面。此外，上半部无笔墨的空旷亦与细笔白描人物简洁的笔风相吻合，有助于突出主体人物。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。
华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。
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"Painting of Ladies in White Drawing" axis, Qing Dynasty, Huayan Painting, silk book, ink pen, vertical 82 cm, horizontal 32.2 cm.
Subscription: "Linting Huayan." Xiajun "Huayan" India 1.
This picture depicts a solemn and weak woman, with her head bowed and eyes lowered, her hands sleeved in cages, and her side seated on a vine couch. The maid was rushing forward with letters in her hands. This is a small landscape figure painting, without complicated plots and profound creative ideas, but focuses on showing the beauty of women's external image. The composition is exquisite. There is no painting or calligraphy on the upper part of the picture. The characters and titles are all placed in the lower part. A large area of blank space is located above the characters, expanding the space above the characters, while enriching the picture with the leisure mood of "silence is better than sound at this time". In addition, the emptiness of the first half of the pen and ink coincides with the concise style of the characters in the fine brush sketch, which helps to highlight the main characters. In the picture, the woman has a pointed jaw, a melon-seed face, a beautiful and beautiful face, and a long slender eyebrow with a sad and melancholy feeling. The slender neck and falling shoulders show a "weak and uncontrollable" posture, which reflects the aesthetic orientation of literati painters in the mid-Qing Dynasty in pursuit of the "sick beauty" of "a nail for a beautiful woman".
Huayan's figure paintings generally have three styles, Li Gonglin of the early patriarchal Song Dynasty, rigorous style, accurate and realistic shape. After middle age, following the example of Chen Hongshou of Ming Dynasty and his school, the characters have been deformed and the decorative effect of the pictures is emphasized. In his later years, he gained the strong points of all the families and formed his own style of pen and ink, which is both physical and spiritual, realistic and charming. This picture should be the representative of her early paintings of ladies.