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：重华宫鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：蕉林秘玩

题跋资料:

题跋类别：题跋；作者：宋徽宗；题跋位置：本幅；款识：无；书体：楷书；全文：雪霁江行图。郭忠恕真迹。印记：御书之宝

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：辛亥新正御题；书体：行书；全文：（乾隆辛亥御题。诗文不录。）印记：八征耄念之宝、自彊不息

主题:

主要主题：船客舫 ；其他主题：山水冬景（雪景） ；其他主题：山水江河、湖海 ；其他主题：人物高士（士人、隐士） ；其他主题：人物侍从（侍女、童仆） ；其他主题：人物渔夫、船夫 ；其他主题：船篷舟 ；其他主题：器用家俱（屏风）家俱；其他主题：器用饮食器 

技法:

界画 

参考资料:

收藏着录： 石渠宝笈续编（重华宫），第三册，页1508 收藏着录： 故宫书画录（卷五），第三册，页31 收藏着录： 故宫书画图录，第一册，页127-128 参考书目： 1.林莉娜，〈五代郭忠恕雪霁江行图〉，收入林莉娜主编，《宫室楼阁之美 - 界画特展》（台北：国立故宫博物院，2000年初版），页97-98。2.国立故宫博物院编辑委员会，〈五代郭忠恕雪霁江行〉，收入国立故宫博物院编辑委员会编，《界画特展图录》（台北：国立故宫博物院，1986年初版），页54。3.陈韵如，〈郭忠恕雪霁江行〉，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243- 245。 内容简介（中文）： 郭忠恕字恕先（宣和画谱的纪载：字国宝），河南洛阳人。他的性格豪爽，行为放荡，在文章、篆隶书法及绘画方面，却都有很高的造诣。年青时，在后周（西元九五一至九六0）作官，任博士的职务。到了宋朝，曾经当国子主簿，但遭受贬职的处分。他特别擅长于界画，不但能把楼台殿阁画得详细精致，而且还合乎尺寸比例。这幅画的船只，无论是船身、船舱、舵楼、桅杆等，都描绘得非常仔细，各部份的结构也非常严谨合理。是研究宋代船只的最佳参考资料。 内容简介（中文）： 一般所谓的「界画」都在画殿阁舟船等结构复杂的对象，画法上则以细致而控制严谨的线条作为其特征。它之成为正式画科，发生在北宋，而郭忠恕则是第一位被提到的大师。此幅左侧宋徽宗书风的题识，即指郭忠恕为作者。 画中以两艘大船为主，桅杆上有两道向画外的牵绳，却不见牵夫，推测画幅曾受裁切。由桅杆及舵楼之细节表现精准来看，画家确为明了船舶结构的专家。而由船伕与仕女的活动中，又另点出船主与官方的可能关联。船的正侧面表现特显古朴，至十一、十二世纪后，就少见这种画法了。(20061206) 内容简介（英文）： In general, so-called “ruled line” painting often involves such complex subjects as buildings and boats. The method features the precise control and refinement of the brush. Ruled-line painting became a formal theme in Chinese painting during the Northern Sung, and Kuo Chung-shu is mentioned as its first master. The left side of this painting bears an inscription in the style of Emperor Hui-tsung referring to Kuo Chung-shu as the artist. The subject here is two large boats. Attached to the masts of both is a rope extending beyond the border of the painting. As such, with no one seen pulling, it suggests that the right part of this work had been cut off at some time in the past. Judging from the refined and precise brushwork of the boats and their details, the painter must have been a professional with a high degree of understanding in the structure of boats. Furthermore, based on the activities of the men and ladies on the boats, it appears that those in charge of the ships were related to the government. The unusually simple form of the sides and front of the ships is rarely seen in painting after the 11th or 12th century.(20061206) 内容简介（英文）： Kuo Chung-shu was a native of Lo-yang in Honan province. His tzu (style name) is recorded as both Shu-hsien and Kuo-pao. He was accomplished in the literary arts, skilled at the seal and clerical styles of calligraphy, and a good painter. He was a generous and undemanding man, who took much pleasure in the humble things of life. A minor official and scholar during the latter Chou dynasty (951-960), he became a Registrar in the National Academy under the ensuing Sung dynasty. However, in this capacity he was cashiered and banished.As a painter, Kuo Chung-shu was classified as wonderful in landscape, rocks and trees, and architectural subjects. He was most especially famous for the accurate scale of his architectural studies. People felt they could run their hands along the bannisters in his paintings, pass along the balconies, open windows and shut doors. This painting shows boats on a river journey, their awnings piled with snow, their crewmen cowed by the cold‧