边景昭他精画禽鸟、花果。深入生活，体察细微，注重物象的形神特征，边景昭笔下的花鸟，花有姿态，鸟有神采。他画的翎毛与蒋子成的人物、赵廉的虎，曾被称为“禁中三绝”，是明代院体画家中影响较大的工笔花鸟名家。有《竹鹤图》传世。子边楚芳、边楚善亦长于花果翎毛，传其父法。传世作品有《三友百禽图》、《双鹤图》、《春禽花木图》。
《三友百禽图轴》
       边景昭于永乐十一年（1413年）所绘的《三友百禽图轴》（台北故宫博物院藏），更具典型性，画面松竹梅岁寒三友并植，寓意君子之德，百鸟聚集，隐喻百官朝拜天子，顺承天意、熙宁祥和的立意，凸现吉祥瑞应的象征意义；同时，象形刻画也生动活泼，尤其百禽的动姿，或跳踯，或鼓噪，或饮啄，或顾盼，悉尽其态，气氛热闹欢快；诸鸟细致入微的描绘，使品类意义可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，此作堪称边氏最具宫廷花鸟特色的佳构。
《百喜图轴》
       另有边景昭作于宣德二年丁未（1427年）的《百喜图轴》（台北故宫博物院藏），以百只喜鹊的“百雀”的谐音来比喻“百爵”；《栗喜图轴》（台北故宫博物院藏）也用谐音表示“立即报喜”，如乾隆帝题诗所曰“栗喜立报喜，寓意真可人。“吉祥之意明显；见于著录的《五伦图轴》画凤凰二、鹤一、鸳鸯二、鹡鸰二、黄莺二清杜瑞联《古芬阁书画记》评：“论曰宋画院以五伦图试士，人多作人物，唯一士画凤凰取君臣相乐之意，画鹤取父子相和之意，鸳鸯喻夫妇，鹡鸰喻兄弟，莺鸣喻朋友，遂擢上第。景昭此图，盖仿宋本也。”以禽鸟象征五伦，于吉祥中又寓教诲之意。可以说，边氏的多数作品均呈现装饰性和吉祥意这一鲜明的特色。
作品鉴赏
       《三友百禽图轴》和《百喜图轴》中的花卉翎毛以北宋“院体”为本，山石则源自南宋马、夏，勾线粗劲方折，皴法运侧锋斧劈，粗细对照，刚柔相济，设色、水墨映衬，使作品于工妍中别具雄健韵致。《竹鹤图轴》（北京故宫博物院藏）和《雪梅双鹤图轴》（广东省博物馆藏）则更多清雅格调，于精微中透出雍容浑朴的气象。主体双鹤均作近景特写，准确而细致地描绘了他们的体态、羽色，不遗细节。仙鹤或引颈翘首，自啄其羽；或低首俯身，觅食昆虫；或伸颈鸣叫，长啸太空，气宇轩昂又悠然自得；白鹤本身形成三色对比，丹顶、白身、黑尾、犹如“万绿丛中一点红”，皎洁华美，极富色彩装饰美；翠竹或白梅背景，又映衬出幽旷出尘的品格；总体风格既不同于北宋的过于柔细，又有别于南宋的一味苍劲，工丽与清雅和谐结合，精细与洗练因物而施，其格调亦带平民化贵族品位。

传统宋代“院体”
       边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制.
开创花鸟新风
       李安忠是宣和朝画院画家，花鸟亦善然而出，边氏出生地的福建，又沿续着南宋院画风格和元代边武、张舜咨传至闽地的文人水墨花鸟画风，趋于粗简劲健，故边氏也受到一定影响。其成熟的花鸟画法即粗细相兼，妍雅并重。花鸟主体勾勒设色，工细妍丽，树石北京水墨皴染，简劲清雅，在工致华美中透出雍容浑朴气象，遂自成一格，开创了明代“院体”花鸟新风。
       边景昭花鸟画的艺术追求，既承继了宫廷花鸟画的传统特色，又掺入了明代皇室平民化的贵族品味，在取材、立意、构图、笔墨、格调等方面都有所反映。

画史对边景昭花鸟画风格的评析多有论述，也指出了他承宋人又有所创新、工而苍、妍而雅的艺术特色。如明·詹景凤《东图玄览编》曰：“边景昭十二禽，细绢横幅，中作老梅与勾勒竹，重着色。精妙而苍，亦雅。”顾复《平生壮观》记：“秋塘生趣，鸳鸯一双，一作下水形势，甚妙。勾染芙蓉水草，皆宋人法也。”明韩昂《图绘宝鉴续编》论：“边景昭，陇西人，善翎毛花果，花之娇笑，鸟之飞鸣，叶之正反，色之蕴藉，不但勾勒有笔，其用墨无不合宜，宋元之后，殆其人矣。”徐沁《明画录》评：“花果翎毛，妍丽生动，工致绝伦。”
流风影响
       边景昭创立的花鸟画风，在当时已蔚成一派，边氏传人的作品今已罕见，大约也多被改款为宋元画，唯边楚善有件传世作品《夏景聚禽图轴》藏于日本。
       边氏画风对明代宫廷绘画亦颇有影响。宣宗朱瞻基的诸多御笔花鸟即仿边氏，如《花下狸奴图》、《猿戏图》、《三羊开泰图》、《壶中富贵图》、《子母鸡图》（均台北故宫博物院藏）等，均属细腻而清雅、寓吉祥含意的工笔设色画，正德三年张世通跋《宣德宝绘册》（台北故宫博物院藏中即指出：“国初边景昭有八节长春之景，当时御笔亦多仿其意，于令节赐大臣。”成化年间驰名的林良，以水墨法见长，但最初也宗法边景昭一路，如《广州府志》所载：“时复绘花草，曲尽其妙。虽祖黄筌、边景昭，然荣枯之态，飞动之势，颇有心得，遂成一家。”存世作品中，《山花白羽图轴》（上海博物馆藏）运工笔重彩法，风格就很接近边氏。稍后弘治年间的吕纪，渊源更来自边景昭，“两浙名家，使临唐宋以来名画，遂入妙品，独步当代。”即使吕纪后来自成一派的成熟画风，其工致清丽的花卉翎毛画法，仍深受边氏影响，唯树石背景更见劲健粗犷，在工笔与写意、色彩和水墨的结合上更显和谐统一。
       在明代宫廷绘画鼎盛时期，边景昭的花鸟深受赞赏，评价甚高。诗曰：“边公花鸟冠当时，内苑皆称老画师。留得宣和遗迹在，令人披玩动哀思。”

边景昭虽享高寿，但留下画迹甚少，前人已有“无边论”之说，清杜瑞联《古芬阁书画记》即曰：“惟景昭画本，流传甚少，在当时已经难得，遂有无边论，亦犹宋之无李（成）论。”统计一下边氏存世作品不足20件，见于著录的稍多，全计亦仅60余件。究其原因，或许与工笔重彩花鸟画创作费力耗时有关，但更主要的当是改款变成了宋画。
       明代宫廷花鸟画大家边景昭、林良、吕纪的画法均主宗宋人，故作品常被洗去本款，改为宋人画。清顾复《平生壮观》即有记述：“先君云文进（边景昭）、廷振（吕纪）、以善（林良）翎毛花卉，宋人余教未衰。……迩来三人之笔寥寥，说者谓洗去名款，竟作宋人易之，好事家所见之翎毛花卉宋人款者，强半三人笔也。予不能不为三人危之。“事实也确实如此，存世作品中有不少宋代宫廷花鸟画，分析画风，虽不能肯定为边氏之迹，也属边氏流派的作品。
       如标为五代黄筌的《竹梅寒雀图轴》（台北故宫博物院藏），即属边景昭风格，其中太平鸟和八哥的造型，竹叶、梅枝的表现，均与边氏《三友百禽图轴》相似，麻雀则近边氏《百喜图轴》，尤其颊部白色圆点的部位极其相类，惟整体上更呈平面化和图案化，装饰性更强，当属边氏传派作品。还有根据董其昌边款定为北宋赵昌的《四喜图轴》（台北故宫博物院藏），画喜鹊、桑鸬、画眉、相思鸟活跃于梅、竹、山花、坡石间，树干和坡石甚似边景昭画法，但用笔更强调转折和提顿，已带浙派放纵、率意之迹，当属较晚的边氏一系作品。另有标为元人的《岁朝百爵图轴》（台北故宫博物院藏），百雀的立意、繁密的构图和花鸟的形态，都接近边氏《百喜图轴》，但笔法较为刻板，物象欠缺立体感，尤其坡石的色皴重复、平列，趋于形式化，少边氏真迹自然生动的描绘手法和写实功力，此图亦为明代中、晚期仿边氏的传人之作。上述诸图虽非由边氏真迹改为宋元画，但均属于边氏传派作品，从中亦可想见边氏画迹被广为改款的情况。

Border Jing Zhao, the word into the text, the Ming Dynasty palace bird painter. Fujian Yanping County (now Fujian Shaxian) people, ancestral home Longxi (now Gansu), birth and death unknown. Yongle years (1403 - 1424) Ren Wu Yingdian to Chao, to Xuande (1426 - 1435) is still dedicated to the inner court. After the Hanlin to Chao, often accompanied Xuanzong Zhu Zhanji painting. He was open-minded, and learned to poetry. He inherited the Southern Song Dynasty "courtyard" meticulous tradition, his neat and neat works, fine strokes fine, Fu-rich color, elegant wealth. "Flower of the demon laughing, birds of Fei Ming, Ye Yun by, not only outline a pen, its ink with all the" said. Edge of Zhao ink force full, rich, fine like subtle, flexible affordable.

The history of painting on the edge of King Zhao's style of painting and calligraphy of many of the comments, but also pointed out that he was the Song people have innovation, work and Cang, Yan and elegant artistic features. Such as the Ming Zhan Jingfeng "East map Xuanlian series" said: "border Zhao 12 poultry, silk banners, for the old plum and outline bamboo, heavy color. Exquisite and Cang, Yaya." Gu Fu "life spectacular" : "Autumn Tang Tong Sheng, a pair of mandarin ducks, one for the water situation, very wonderful. Gogo Hibiscus water plants are Song method." Ming Han Ang "Figure Baojian Sequel" On: "Edge King Zhao, Longxi people, , The flowers of Jiao Xiao, birds of the Ming, the positive and negative leaves, the color of the implication, not only outline a pen, the ink is not appropriate, after the Song and Yuan Dynasties, the people who carry away. "Xu Qin" "Huaguo feather hair, Yan Li vivid, the work of exquisite.
Flow effects
       Bian Jing Zhao created the style of flowers and birds, at the time has become one school, side of the work of people have been rare, and more about to be changed for the Song and Yuan Dynasties painting, only the edge of Chu Shan has handed down pieces of work. In Japan.
       Bian 's style of painting is also quite influential in Ming Dynasty. Zhuoyan Ji Xuanzong many birds and birds that imitation side's, such as "flower under the slave slaves figure", "Ape play map", "three sheep Kai Tai map", "pot rich map", "hen" (Taipei National Palace Museum possession) and so on, are delicate and elegant, auspicious implication of the meticulous color painting, Masanori three years Zhang Shitong Postscript "Xuande treasure album" (Taipei Palace Museum in Tibet that: The famous Lin Liang, to ink law known for, but the original clan law also Zhao Jing all the way, such as "Guangzhou House Chi" contains: the name of the " Although the ancestral Huang Quan, border Jing Zhao, then the state of the ups and downs, flying trend, quite experience, then into a. "Save the world works," Shanhua white feather axis "( Shanghai Museum collection) Yen pen color method, the style is very close to the edge of the later Koji years Lv Ji, origin more from the border Zhao, "Zhejiang and Zhejiang famous, so since the Tang and Song paintings, then into the Miao Pin, unmatched contemporary. "Even if Lu Ji later became a school of mature style, the work caused by the beautiful flowers of feathers painting, still by the edge of the impact, the only tree stone background more robust, rough, in the brushwork and freehand brushwork, color and ink combination More harmonious unity.
       In the Ming Dynasty palace painting heyday, edge of Zhao Zhao's flowers and birds by the praise, evaluation is very high. The poem reads: "At the time of the flower crown, the inner garden is called the old portrait master, leaving the Xuan and the relics in, is draining the mourning.