书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：养心殿鑑藏宝
鑑藏宝玺：古希天子
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：御府之印
收传印记：子孙亿世家传之宝
收传印记：合同
收传印记：米芾画禅烟峦如觌明说克传图章宝锡
收传印记：梁溪华氏家藏
收传印记：霜华山人
收传印记：李氏珍藏书画之印
收传印记：墨林
收传印记：（一印漫漶不可识）
收传印记：（一印存半山二字）

题跋资料:

题跋类别：作者款识；作者：张僧繇；题跋位置：本幅；款识：僧繇；书体：楷书；全文：

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：无；书体：行书；全文：（乾隆庚申御题，文不录）印记：乾隆宸翰、几暇临池

主题:

主要主题：山水冬景（雪景） ；次要主题：树木  ；次要主题：建筑寺庙 ；其他主题：山水江河、湖海 ；其他主题：花草  ；其他主题：建筑斋馆 ；其他主题：建筑桥 ；其他主题：建筑栏杆 ；其他主题：器用家俱（屏风） ；其他主题：走兽骡．驴 ；其他主题：人物行旅 ；其他主题：人物高士（士人、隐士） 

技法:

工笔 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页1 收藏着录： 石渠宝笈初编（养心殿），上册，页640 收藏着录： 故宫书画图录，第一册，页1-2 参考书目： 1.林莉娜，〈六朝梁张僧繇雪山红树图〉，收入林莉娜、张华芝编，《冬景山水画特展图录》（台北：国立故宫博物院，1989年元月初版），页53。2.何传馨，〈(原题六朝梁张僧繇)雪山红树图〉，收入李玉珉主编，《古色：十六至十八世纪艺术的仿古风》（台北：国立故宫博物院，2003年初版），页239。 内容简介（中文）： 张僧繇（约西元六世纪初），苏州人，曾任武陵王国侍郎、直祕阁知画事，官至右军将军。梁武帝崇信佛教，命僧繇在佛寺画壁画，他善作凹凸立体的花纹，画风带着外来的影响。群山被大雪所埋，山斋一人凭栏而坐，溪桥有人骑驴而来。一片银白的雪霁山色与红树绿叶交相辉映，色彩鲜丽明快。画幅右侧虽有「僧繇」两字款，疑为晚明仿其画风之作。 内容简介（中文）： 全幅以淡墨勾勒物象，舍弃皴法，再敷以青绿、朱红、白粉等色彩。重复出现圆弧状造型的山体，呈现一种古拙感。　本幅原题为〈六朝梁张僧繇雪山红树图〉，据唐宋史籍所载，张僧繇（活动于六世纪前半）专长以外来的凹凸画法绘制佛道人物壁画。晚明时期流传许多张僧繇的「没骨山水」，且有董其昌、蓝瑛等人的临仿作品。此幅应是晚明时期对张僧繇画风的揣摩与想像。(20120103) 内容简介（英文）： This work in light ink outlining the forms eschews texture methods but adds shades of blue-green, vermilion, and powdery white. The repeated bun-shaped mountains reveal an archaic simplicity. This painting was originally titled as by the Six Dynasties artist Zhang Sengyou (fl. first half of 6th c.). According to Tang and Song dynasty sources, Zhang specialized in Buddhist and Taoist wall painting using foreign “convex-concave” decorative methods. However, many “Zhang Sengyou” works in the late Ming dynasty were landscapes in the “boneless” wash method, and were imitations done by such painters as Dong Qichang and Lan Ying. Perhaps this work is also a careful yet imaginative view of Zhang Sengyou’s painting style from the late Ming.(20120103) 内容简介（英文）： Chang Seng-yu was a native of Soochow and held various government positions. Emperor Wu of the Liang was an ardent believer in Buddhism and commissioned him to execute wall paintings for a Buddhist temple. Chang Seng-yu excelled at rendering the illusion of three-dimensional forms, and his painting style shows traces of foreign influence. In this work, amid snow-covered mountains, a man is seated in his studio and leans on a balustrade. Guests approach over a bridge, one mounted on a donkey. The silvery white of the snowy mountains and the red and green leaves of the trees are vibrant. Although the artist's signature, Seng-yu, appears on the left side of the painting, it was perhaps executed by an artist in the late Ming (1368-1644).