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：养心殿鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：石渠宝笈
收传印记：神品
收传印记：项元汴印
收传印记：天籁阁
收传印记：项墨林印
收传印记：项子京家珍藏
收传印记：墨林祕玩
收传印记：子京
收传印记：项墨林父祕笈之印
收传印记：蕉林
收传印记：观其大略

题跋资料:

主题:

主要主题：山水冬景（雪景） 主要主题：树木寒林．枯树 主要主题：树木松 ；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：人物渔夫、船夫 ；其他主题：人物侍从（侍女、童仆） ；其他主题：人物百姓 ；其他主题：走兽骡．驴 ；其他主题：建筑茅草屋 ；其他主题：建筑桥 ；其他主题：建筑篱笆、围墙 ；其他主题：船  ；其他主题：船渔船 

技法:

参考资料:

收藏着录： 石渠宝笈初编（养心殿），下册，页669 收藏着录： 故宫书画录（卷五），第三册，页121 收藏着录： 故宫书画图录，第二册，页315 内容简介（中文）： 霜雪染白了大地，仅有后凋的古松与落叶树挺立着。有行旅两人，驱赶着驴子走向渡头。画中渍染部分甚多，烘托出霜天的寒冷。若从坡石的皴染法，与枯枝的蟹爪法来看，是出自郭熙一派的画家。 内容简介（中文）： 五代、北宋之际，北方出现了以寒林为主题的山水画作，代表者首推五代的李成（919－967），其画「气象萧疏，烟林清旷，毫锋颖脱，墨法精微」。不过世传李氏所作的〈寒林图〉，多是以松与枯树为主的近景画。此幅作阔远之景，霜雪大地，前景古松与树木挺立，行旅二人驱赶着驴子走向渡口。画中以渍染烘托出霜天的寒冷。从坡石的皴染与蟹爪状的枯枝来看，其当出自南宋以后郭熙一派画家之手。(20110913) 内容简介（英文）： The theme of wintry trees appeared in landscape paintings of China’s north during the period between the Five Dynasties and Northern Song. The representative painter of this subject was Li Cheng (919-967) of the Five Dynasties, his works being described as follows: “In an atmosphere desolate and expansive, misty trees are pure and spacious. The tip of the brush is exposed and the method of ink superbly fine.” However, most surviving paintings on “wintry trees” attributed to Li Cheng portray close-up scenes of pines and withered trees. This work instead features distant and expansive scenery of frost and snow covering the land. In the foreground stand ancient pines and leafless trees as two travelers with their donkeys make their way to the ferry point. Many areas of the painting are covered with wet washes that convey the idea of wintry cold on a frosty day. Judging from the texturing and washes of the slopes and the withered “crab-claw” branches, this work appears to have come from the hand of a post-Southern Song painter working in the school of Guo Xi.(20110913) 内容简介（英文）： Frost and snow cover the ground. Twisted ancient pines and leafless trees stand stiffly in the cold. Two travelers with their donkeys are about to board the ferry. Many areas of the painting are covered with wet washes, which make the blank areas of the silk convey the idea of snow. Judging from the method of texturing and shading the rocks and banks, and the rendering of the bare branches as crab-claws, the painter belonged to the tradition established by Kuo His (ca. 1020-1100) in the eleventh century. 研究性论着： 河岸石坡上，二松劲挺，伸指布爪，如虬龙腾跃，其后枯枝杂树为从。山坳间有简陋的茅舍人家，另一边舣舟泊岸，一人柱杖，一人驱驴将渡，。中景留空，稍远处平坡迤逦，一角有篱院茅舍，屋中二人对饮。山势渐远，远山轮廓高低起伏的隐没在烟岚中。全画除了前景松石较繁重紧凑之外，皆以空疏简淡之景，表现寒冬枯寂的情调。画无款印，有明项元汴（1525--1590）、清梁清标（1620--1691）收藏印。十至十一世纪，北方画家间有一类以寒林为主题的山水画，代表画家首推五代李成（919--967），宋人指出他的画风特色为:「气象萧疏，烟林清旷，毫锋颖脱，墨法精微」。（注）不过世传李成的寒林图都作近景，松与枯树为全幅的主景，此幅作阔远之景，坡石画轮廓及皴染都接近郭熙（活动于十一世纪后半），构图也采中轴式，不过与郭熙〈早春图〉比较，构图较空疏，前景大石并用斧劈皴法，显示南宋以后学李郭一派的画风。（注）郭若虚，《图画见闻志》，收录于于安澜编，《画史丛书》（上海: 上海人民美术出版社，1962），第一册，卷一，页12，〈论三家山水〉。参见李霖灿，〈寒林一系图画的初步探讨〉，收录于李霖灿，《中国名画研究》（台北:艺文印书馆，1973），页275--280。