书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢诗塘纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：宝笈三编
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鉴玺
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
收传印记：顺治三年七月初二日钦赐廷臣大学士臣宋权恭记（正书木印）
收传印记：钦赐臣权
收传印记：臣荦
收传印记：子孙永宝

题跋资料:

题跋类别：题跋；作者：王铎诗塘顺治六年上巳。王铎观识。 范中立。别号宽。陕西华原人。上以兹画特赐内阁大学士商丘宋公玄平先生。画之博大奇奥。气骨玄邈。用荆关董巨。运之一机。而灵运雄迈。允为古今第一。佗如薄浅单隘。小小有致。譬莒邾小国。本非坫坛盟长。公以第一流人。锡天下第一画。懋昭道德勳业。对扬休命。其博大亦可知已。顺治六年上巳。王铎观识。

主题:

主要主题：山水冬景（雪景） ；其他主题：山水溪涧、湍泉 ；其他主题：树木寒林．枯树 ；其他主题：山水山径 ；其他主题：人物行旅 ；其他主题：建筑寺庙 

技法:

界画 皴法雨点皴

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第三册，页1376 收藏着录： 故宫书画录（卷五），第三册，页39-40 收藏着录： 故宫书画图录，第一册，页163 参考书目： 1.林莉娜，〈宋范宽雪山萧寺〉，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55。 内容简介（中文）： 林峦积雪，万木俱凋，寒气逼人。小径蜿蜒，幽谷深邃处寺宇森列。幅中枯树偃仰稀疏，树干矗立，坚硬如铁，枝枒四出，挺如剑戟，画法至为苍古。虽然诗塘王铎的题跋称此画出自范宽之手，然本幅无款印，笔墨亦与范氏不类，应为后人所为。　范宽（十－十一世纪），陕西华原人。本名中正，字仲立。性宽厚有大度，时人称为范宽。山水师李成、荆浩，但自立新法，为北宋初年的山水画大家。 内容简介（中文）： 范宽（10世纪下半叶），华原人、字仲立，本名中正。性宽厚有大度，故时人目之为范宽。山水始师李成，又师荆浩，后乃自立新法。 峰峦雪积，幽谷深邃处寺宇森列。但见万木俱凋，树干矗立，坚硬如铁，树枝四出，挺如剑戟。枯树画法，偃仰稀疏，最难得苍古，而本幅足为表率。旧传此幅出自范宽手笔。诗塘见王铎评此画云：画之博大奇奥，气骨玄邈，用荆关董巨，运之一机，而灵蕴雄迈，允为古今第一。 内容简介（英文）： A cluster of temple building is nestled in the forest of a narrow valley high among snow-covered mountains. Branches projecting like so many swords and lances, the leafless forms of the trees are imbued with the strength of iron. It is extremely difficult to achieve an effect of both verdancy and hoariness when depicting the upward and downward thrusting of the boughs of such withered trees, but this work is an exemplar of this technique. Although the painting is unsigned, but traditionally attributed to Fan K’uan, the inscription above it by Wang To (1592-1652) reads, “The depths of this painting hold the articulation of the ethereal and the face of the hidden. Ching Hao, Kuan T’ung. Tung Yüan, and Chü-jan are united herein; profound and forceful, this is a work unparalleled in either the past or present.” Fan K’uan, a native of Hua-yüan, earned his personal name (K’uan) from his generous (K’uan) nature. In landscape painting, he initially followed the styles of Li Ch’eng (919-967) and Ching Hao (late 9th-early 10th centuries), but later developed his own style. 内容简介（英文）： Snow covers the forests and mountains in this painting with many craggy trees for a bone-chilling effect. A winding path leads into a steep valley to the left, where a cluster of temple buildings are seen. The thick, twisting trunks of the leafless trees appear as solid and stiff as iron, and the branches project in all directions like swords and lances for a solemn, archaic brushwork. Although the later inscription by Wang T’o claims that this came from the hand of Fan K’uan, it bears no seal or signature of the artist. The brushwork also differs from that of Fan, probably representing a later interpolation.Fan K’uan followed the styles of Li Ch’eng and Ching Hao but developed his own, becoming a great landscape painter of the early Sung.