书体:

色彩:

浅设色

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：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：宝笈三编
鑑藏宝玺：宣统御览之宝
收传印记：也园索氏收藏书画
收传印记：櫰庭清玩
收传印记：阿尔喜普之印
收传印记：真赏
收传印记：丹诚
收传印记：琴书堂
收传印记：都尉耿信公书画之章
收传印记：宜尔子孙
收传印记：公
收传印记：信公珍赏
收传印记：珍祕
收传印记：梅林潘氏家藏

题跋资料:

题跋类别：作者款识；作者：唐寅；题跋位置：本幅；款识：函关雪霁旅人稠。轻载驴骡重载牛。科斗店前山积铁。虾蟆陵下酒倾油。晋昌唐寅作。；书体：行书；全文： 印记：吴郡、唐伯虎、学圃堂

主题:

主要主题：山水冬景（雪景） ；次要主题：树木寒林．枯树枯树；次要主题：车兽力车 ；次要主题：山水江河、湖海 ；次要主题：山水溪涧、湍泉湍泉；其他主题：建筑城墙 ；其他主题：建筑房舍 ；其他主题：建筑台阁 ；其他主题：走兽牛 ；其他主题：走兽骡．驴 ；其他主题：山水瀑布 ；其他主题：人物行旅 ；其他主题：树木  ；其他主题：山水石磴、栈道栈道

技法:

皴法 苔点 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1864 收藏着录： 故宫书画录（卷五），第三册，页345 收藏着录： 故宫书画图录，第七册，页3-4 参考书目： 1.王耀庭，〈明唐寅函关雪霁图〉，收入王耀庭主编，《传移模写》（台北：国立故宫博物院，2007年初版），页78。2.林莉娜，〈明唐寅函关雪霁〉，收入林莉娜、张华芝编，《冬景山水画特展图录》（台北：国立故宫博物院，1989年元月初版），页63。3.江兆申，〈唐寅函关雪霁图 轴〉，收入国立故宫博物院编，《吴派画九十年展》（台北：国立故宫博物院，1975年初版，1976年再版，1981年三版），页302。4.〈明唐寅函关雪霁〉，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260。5.郑瑶赐，〈四海一家 —本院文物赴美参展「一四九二之际探险时代之艺术」图录专辑〉，《故宫文物月刊》，第103期（1991年10月），页21-22。6.赖国生；〈院藏高剑父山水图赏析〉，《故宫文物月刊》，第356期（2012年11月份），页116-126。 内容简介（中文）： 唐寅（西元一四七０－一五二三年），吴县（今江苏苏州）人。字子畏，又字伯虎，号六如。天赋多才，赋性疏朗，狂逸不羁。弘治十一年，中南京乡试解元。画师周臣，而有出蓝之誉。山水、人物、花鸟无所不精，为明四大家之一。 画积雪巖关，旅人驱车而行。全帧大抵以斧劈皴皴写，劲利潇洒，间杂披麻、长皴等，皴法变化多端。此图虽无年款，但据其画风，疑为唐氏三十八岁左右之作。 内容简介（中文）： 唐寅（西元一四七○至一五二三年），江苏吴县人。字子畏，又字伯虎，号六如。天赋多才，生性疏放，狂逸不羁。弘治十一年，中南京乡试解元，后牵连京试贿赂案，被谪为吏，从此绝意宦途，一心穷研诗、画、书法。 全帧皴法变化极多，大抵以斧劈为主，有披麻，有长皴。寺宇上小三角山阜，更用焦墨干笔上挑如Ｖ形。唐寅画三十岁前近文沈面目，三十岁后力仿周臣，过四十，则长皴短砍，南北兼参。此图惜无年款，疑成于三十八岁顷。 内容简介（中文）： 唐寅（1470－1523），吴县（今江苏苏州）人。字子畏，又字伯虎，号六如居士。天赋多才，个性狂逸不羁。弘治十一年，中南京乡试解元。诗、书、文章、绘事无一不臻其妙。画师周臣，而有出蓝之誉，为明四大家之一。 画积雪巖关，旅人驱车而行。通幅大抵以斧劈皴皴写，劲利潇洒，间杂披麻、长皴等，南北兼参，皴法变化多端。此图虽无年款，但据其画风，疑为唐氏三十八岁左右之作。(20110913) 内容简介（英文）： Tang Yin (style names Ziwei and Bohu; sobriquet Liuru jushi) was a native of Wuxian (modern Suzhou, Jiangsu). A genius of many talents, he led a free and unrestrained life. In 1498, he came in first place at the Nanjing provincial civil service examinations. He attained marvelous achievements in poetry, calligraphy, writing, and painting. In the latter, he studied under Zhou Chen, whom he surpassed in fame to become known as one of the Four Ming Masters.In this work is snow piled deep in a high mountain pass, where travelers proceed with ox-driven carts in the foreground. The entire scroll was rendered with axe-cut texture strokes, imparting beauty and sharpness to the forms. Other strokes include hemp-fiber and long texturing ones for a variety of effects from northern and southern painting traditions. Although undated, the style of this work suggests it was done by Tang Yin at around the age of 38 by Chinese account.(20110913) 内容简介（英文）： T’ang Yin was a native of Suchou. He was endowed with a great genius but was by nature somewhat careless and lived the life of an unrestained bon-vivant. In 1498 he earned the highest grade in the provincial examinations at Nanking, but he was later implicated in the bribing of a judge at the metropolitan examinations; he was disgraced and deprived of any chance at an official career. From that time on he devoted himself to poetry, painting and calligraphy. In this painting many types of texture strokes are used; in most areas the axe-cut ts’un predominates, but there are also hemp fiber ts’un and long straight strokes. Above the temple roof is a small triangular peak on which black ink is applied with a dry brush in V shaped strokes. T’ang Yin’s early works, up to about age 30, are related to the styles of Shen Chou and Wen Cheng-ming; between 30 and 40 he painted after the style of Chou Ch’en; after 40 he began to combine long texture strokes with the short axe-cut ts’un, thus integrating elements of the “Northern” (represented by Chou Ch’en) and “Southern” (Shen and Wen) traditions. “Clearing After Snow” is not dated, but it is probably a work of T’ang Yin’s 37th year. 内容简介（英文）： T’ang Yin, a native of Soochow, was a genius of many talents who led a free and unrestrained life. In 1498, he was first in the Nanking provincial exams. In painting, he studied under Chou Ch’en, whom he surpassed in fame. T’ang excelled at landscapes, figures, and birds-and-flowers, becoming known as one of the Four Masters of the Ming. In this work, snow is piled deep in a high mountain pass, where travelers proceed with ox-driven carts in the foreground. This scroll was rendered with axe-cut texture strokes, imparting beauty and sharpness. Other texture strokes include hemp-fiber and long ones for a variety of effects. Although undated, the style suggests this work was done by T’ang Yin at around the age of 37.