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：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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：御书房鑑藏宝
收传印记：周东鉴定
收传印记：□□□来□□图书
收传印记：安仪周家珍藏

题跋资料:

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：甲辰新正月。御题。；书体：行书；全文：意多渲染不多皴。溪景山容自叠银。摩诘雪江石渠去。展相对与会精神。甲辰新正月。御题。印记：古稀天子之宝、犹日孜孜

主题:

主要主题：山水冬景（雪景） ；其他主题：树木  ；其他主题：建筑台阁 ；其他主题：建筑桥 ；其他主题：山水江河、湖海 ；其他主题：翎毛 鸟；其他主题：建筑房舍 

技法:

皴法斧劈皴

参考资料:

收藏着录： 石渠宝笈续编（御书房），第四册，页1947 收藏着录： 故宫书画录（卷五），第三册，页117-118 收藏着录： 故宫书画图录，第二册，页301-302 参考书目： 1.陈韵如，〈无款溪山暮雪〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页121- 123。2.林柏亭，〈宋人溪山暮雪〉，《故宫文物月刊》，第200期（1999年11月），页45。 内容简介（中文）： 临溪两岸，竹树茏，于平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更着一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。 内容简介（中文）： 此幅标题来自清宫目录《石渠宝笈．续编》，画家已不可考，然从风格来看，应属十二世纪初画院之作品。 画中安排与〈谿山行旅〉颇有关连，除前中后三景清晰分割外，山体亦佔画面三分之二，但已不再营造壮硕之感，而代之以亲切与祥和。虽为雪景，但却生机处处。前景中以细线画出之低首荷担旅人，小笔点出之戏水禽鸟等细节，皆引人注目。中景精致的云烟雾气处理，正刻意针对日暮之际；也可与当时画论对此之关怀相呼应。(20061206) 内容简介（中文）： 白雪覆盖溪岸与山峰，群鸦翔集欲归巢。溪山之间，仍见绿树丛丛，应是江南冬日之景象。从构景来看，本幅仍具「主山立于画面中央」的遗风，但已脱去山石充实的北宋风格。全幅虚空处几占有二分之一，显露出南宋山水的韵味。在表现树石上，继承李唐之风格，但画树与斧劈皴的技法趋于精巧细致，与马夏（活动于十二、三世纪之间）派倾向粗犷简逸作风大异其趣。(20120103) 内容简介（英文）： White cloudy mists cover riverbanks and envelope mountain peaks as flocks of jackdaws gather in the sky as they return to roost. Amongst the waters and peaks are still some green forests with a few wintry trees, suggesting a Jiangnan winter’s day. The work reveals traces of the “main central mountain” composition. However, it already departs from the Northern Song style full of mountains and rocks, with void taking up nearly half of it to reveal a Southern Song style. Judging from the trees and rocks, it follows the influence of Li Tang (ca. 1070-1150), but the painting of trees and technique of “axe-cut” texture strokes tend to be finer, unlike the coarser and more abbreviated manner of the Ma Yuan and Xia Gui (fl. 12th-13th c.) school.(20120103) 内容简介（英文）： The title of this work was given by the editors of the Ch'ing dynasty imperial art catalogue Treasured Artworks of the Stone Moat (Continued). The artist remains uncertain, but judging from the style, it is probably a work of the Painting Academy from the early 12th century. The arrangement here finds a strong correlation with that in Fan K'uan's “Travelers Among Mountains and Streams”, in which the fore-, middle-, and background areas are clearly divided, with the mass of the mountain taking up two-thirds of the painting surface. However, there is no longer a sense of monumentality, but rather one of intimacy and harmony taking its place. Although a snow scene, a sense of life still abounds everywhere here. Particularly noteworthy is the figure in the foreground with head lowered carrying a load and rendered in fine lines and the delicate brushwork that brings out such details as the playful waterfowl. The refined treatment of the clouds and mist in the middleground scenery intentionally hark to the time of day as dusk. This concern for detail in both overall and specific aspects of the landscape is echoed in painting theories of the day.(20061206) 研究性论着： 白雪覆盖溪岸与山峰，群鸦翔集欲归巢，江天一片寒冬之意。溪山之间，仍见绿树丛丛寒林不多，应是江南冬日之景象。从构景来看，本幅仍具「主山立于画面中央」的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐 ( 约1049-1130 )之影响，但画树与斧劈皴的技法趋于精巧细致，与马夏 (活动于十二、三世纪之间 )派倾向粗犷简逸相异其趣。本幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。( 林柏亭 )