书体:

色彩:

水墨

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：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：毕泷藏书画记

题跋资料:

题跋类别：题跋；作者： ；题跋位置：本幅；款识：文山复心为戴氏□□书；全文： 万仞之山高插天。瀑布飞流千尺泉。山高仰见三峡近。白昼但见云连烟。岧嶤直下几百里。巖上有松巖下水。老松偃盖走虬龙。六月萧萧寒风起。江间浪静一渔舟。怡然独钓披羊裘。长竿掣得□鳌上。不带红尘半点愁。此翁佳趣谁能若。吕望严陵拟斟酌。江山可易心不移。乐山乐水有真乐。画师好手良难逢。万物收拾归图中。便将风月等閒看。不出门庭要令生意终无穷。文山复心为戴氏□□书。

题跋类别：题跋；作者： ；题跋位置：本幅；款识：文江。默庵。 青山崔嵬势接天。山中白雪飞岩泉。山耶水耶倚空壁。苍苍万顷和云烟。初疑蓬莱三万里。无波无涛隔弱水。又疑帝子撒琼瑶。破肉寒商扬石起。悠悠一叟棹轻舟。四时穿着如狐裘。厖眉白发天下老。寸心炯炯无闲愁。嗟哉子陵未似若。锦鳞白酒恣倾酌。十二时中风雨来。两耳不闻自欢乐。好山好水真难逢。谁能置我乎岩中。还君此画更歎息。□□茅屋可岁终。何穷。（原文仅写至此处）。文江。默庵。

主题:

主要主题：山水冬景（雪景） 主要主题：树木松 ；其他主题：器用耕织渔猎钓具；其他主题：船渔船 ；其他主题：树木寒林．枯树 ；其他主题：山水溪涧、湍泉 ；其他主题：山水江河、湖海 ；其他主题：山水瀑布 ；其他主题：人物渔夫、船夫 

技法:

皴法 

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页36-37 收藏着录： 故宫书画图录，第一册，页149-150 参考书目： 1.许郭璜，〈宋李成寒江钓艇〉，收入《李郭山水画系特展》（台北：国立故宫博物院，1999年初版），页19-22。2.〈北宋李成寒江钓艇图〉，收入国立故宫博物院编辑委员会编，《名宝上珍》（台北：国立故宫博物院，1995年初版一刷），页212。 内容简介（中文）： 李成（西元916—967年），字咸熙。他是唐朝皇室的后裔，本住长安，唐末迁移到青州（今山东益都）。他的性情放荡不羁，喜好喝酒、吟诗，擅长山水画。山泉从悬崖上奔泻而下，几株古松参差挺峙。白雪覆盖着大地，黝黑之中，显得天地沉阴，江流寒冻，而有一个渔人在寒江中独钓，善于形容寒意。山石皴染有如云状，圆浑厚重。用笔常扭转运行，速度颇快，甚为粗放活泼。渔翁、小船的用笔全中锋，细密稳健。 内容简介（中文）： 李成（西元九一六—九六七年），唐朝皇室后裔，五代山东人。五代北宋初为水墨山水画成熟时期，李成的松石平远，富呎尺千里气象。与北方荆浩、关仝、范宽，南方董源、巨然发展成两大山水画系。画中高山飞瀑，巖上老松偃盖。前景巨松挺立，渔人寒江独钓。山石皴染如云状，受北宋郭熙山水画皴法影响。然用笔活泼快速，不完全拘泥于物象。由画风及题跋书风来看，应可接受为元人李郭画风作品。 内容简介（中文）： 李成（916－967），唐朝皇室后裔，山东人。五代至北宋初，李成的松石平远，富呎尺千里气象，与北方的荆浩、关仝、范宽，以及南方的董源、巨然发展出中国水墨山水画的两大系统。画中高山飞瀑，巖上老松偃盖。前景巨松挺立，渔人寒江独钓。山石皴染如云，受北宋郭熙山水画皴法影响，然用笔活泼快速，不完全拘泥于物象。由画风及题跋书风来看，推测为元人李郭派的作品。(20110913) 内容简介（英文）： Li Cheng, a descendant of the Tang dynasty imperial clan, was a native of Shandong first active in the Five Dynasties period. From the Five Dynasties to early Song dynasty, Li’s level-distance renderings of pines and rocks, with their atmosphere of great distance, formed part of the major northern tradition of Chinese ink landscape painting along with such northern artists as Jing Hao, Guan Tong, and Fan Kuan, in contrast to the southern tradition of Dong Yuan and Juran.In this painting is a tall peak and a cascade with old pines dotting the craggy forms. Great pines stand in front, where a fisherman is alone on the cold river. Earthen forms, textured and washed into cloud-like shapes, reflect the later influence of Guo Xi’s texturing method. The vigorous, quick brushwork also does not fully adhere to natural forms. Thus, the style of the painting and inscription suggest a Yuan dynasty artist influenced by the Li-Guo School. (20110913) 内容简介（英文）： Li Ch’eng, a T’ang imperial descendant, was a native of Shantung. Ink landscape painting peaked in the Five Dynasties and early Sung, with Li’s level-distance pines and rocks having great distance. With such northern artists as Ching Hao, Kuan T’ung, and Fan K’uan, they formed a great landscape tradition. The tall peak with a cascade here is dotted with old pines and craggy forms. Great pines stand in front, where a fisherman is alone on the cold river. Earthen forms, textured and washed into cloud-like shapes, reflect the later influence of Kuo Hsi’s texture method. The vigorous, quick brushwork also does not fully adhere to natural forms. Thus, the painting and inscription style suggest a Yüan (1279-1368) work influenced by the Li-Kuo style. 内容简介（英文）： Above a river bank, a waterfall cascades into the depths of a ravine. Several pines rise up from the bank above an old man who contentedly fishes the wintry waters. The land is covered by snow and the dark sky appears foreboding. The washes of texture strokes that define the rocks and mountains are effervescent, yet full and voluminous. The use of the brush in describing the trees and outlines of the rocks is animated and lively , while the renditions of the fisherman and skiff are steady. The artist here was obviously familiar with the style of Li Ch’eng and Kuo His (fl.11th c.) known as Li-Kuo. This painting bears neither seal nor signature of artist and has been traditionally attributed to Li Ch’eng. Some modern scholars believe that it might be from the hand of the Li-Kuo School painter Chu Te-jun (1294-1365) of the Yüan dynasty.