对于宋至明代的货郎图画作,学界已多有探讨。薄松年早已指认货郎图作为宫廷节令画的属性。黄小峰曾就宋代以来货郎图的画作意涵与图像细节作以充分讨论。扬之水则结合戏曲和文学资料,分析了货郎画作主题与名物特色。此外,还有不少学者从货郎身份、画作意义及民俗特色入手,继续深化和扩展了此一画题的研究面向。时至今日,货郎图作为连接宋至明代的延续性画题,同时作为串联风俗绘画与宫廷画作的重要结点,愈发得到艺术史学界的关注。
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