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鑑藏宝玺：乾隆御览之宝题跋资料:
题跋类别：作者款识；作者：金廷标；题跋位置：本幅；款识：臣金廷标恭绘；书体：楷书；全文：臣金廷标恭绘。印记：廷标主题:
主要主题：佛道人物锺馗 ；次要主题：人物侍从（侍女、童仆） ；次要主题：山水冬景（雪景） ；次要主题：器用伞 ；其他主题：树木寒林．枯树枯树；其他主题：花草梅（白．红．蜡梅）白梅；其他主题：建筑桥技法:
写意 皴法斧劈皴人物衣纹描法(粗细线条) 苔点参考资料:
收藏着录： 石渠宝笈三编（宁寿宫），第七册，页3468 收藏着录： 故宫书画录（卷八），第四册，页125 收藏着录： 故宫书画图录，第十三册，页291-292 参考书目： 1.刘芳如，〈清金廷标锺馗探梅〉，收入国立故宫博物院编辑委员会编，《迎岁集福 — 院藏锺馗名画特展》（台北：国立故宫博物院，1997年二月初版一刷），页156-157。 内容简介（中文）： 金廷标（卒于一七六七年），字士揆，乌程（今浙江吴兴）人。父金鸿亦善画，廷标幼承家学。西元一七六○年高宗南巡时进白描罗汉册，称旨，入内廷供奉。 锺馗画可作为除岁迎新的节令画。本幅锺馗戴笠，背束梅花一捆，撷衣欲行经雪桥；后一人口衔梅枝，手撑破伞随之。金氏此画描绘锺馗雪天探梅雅兴，借助访梅情境，隐喻画中人孤高不群的性格。 内容简介（中文）： 金廷标（十八世纪），字士揆，乌程（今浙江湖州）人。父金鸿，亦善画，廷标幼承家学，工写真，兼作白描人物、仕女、花卉、界画等。清高宗二十五年（西元一七六○年）南巡时，进白描罗汉册，称旨，命入内廷供奉。本幅画锺馗戴笠，背束梅花一捆，撷衣欲行经雪桥；后一人口衔梅枝，手撑破伞随之。清代，锺馗已晋身为五月花神，但仍有少数画家，锺爱描绘锺馗于雪天探梅的雅兴，聊以「借景抒怀」。金氏此作，当即欲借助锺进士访梅的情境，隐喻画中人孤高不群的内在性格。 内容简介（英文）： Chin T’ing-piao (style name Shih-k’uei) was a native of Wu-ch’eng (modern Hu-chou, Chekiang). His father Chin Hung was also a gifted painter and Chin T’ing-piao learned from him as a youth. He excelled at portraiture and did such themes as ruled-lined subjects, flowers, ladies, and figures in outline manner. When the Ch’ien-lung emperor (r. 1736-1795) toured the south in 1760, Chin submitted an album of lohans in outline. The emperor was so impressed that he invited Chin to serve as a court painter. Chung K’uei wears an official cap with a straw trim. Carrying a cluster of plum branches along a snow-laden path, he walks towards a small bridge. His servant behind holds a branch of blossoms in his mouth as he struggles to open the tattered umbrella. In the Ch’ing (1644-1911), Chung K’uei had already been transformed into a deity associated with the Double Fifth festival of early summer. However, some artists still showed Chung K’uei in the elegant pastime of searching for plum blossoms in snow, giving rise to their own feelings and aspirations. This work by Chin takes the subject of Chung K’uei looking for blossoms to extol the introverted nature of this lofty and eccentric figure. 内容简介（英文）： Chin T’ing-piao was native to Wu-ch’eng (modern Wu-hsing, Chekiang). His father, Chin Hung, also excelled at painting, and Chin T’ing-piao followed the family style. In the Ch’ien-lung Emperor’s Southern Tour of 1760, he submitted an album of lohans (Buddhist worthies) and was summoned and rewarded with a post as court painter. Chung K’uei paintings are also done to welcome the New Year. Here, Chung wears a straw cap and has a bundle of plum blossom branches on his back, gathering his clothes to cross a snow-covered bridge. Behind an attendant holds a plum branch in his mouth trying to open a tattered umbrella. The artist shows Chung in the literati theme of searching for plum blossoms, a metaphor for the lofty, individual scholar.
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