书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

清圣祖康熙三十七年（1698）

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：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

题跋资料:

题跋类别：作者款识；作者：王翬；题跋位置：本幅；款识：范中立雪山图。康熙戊寅（西元一六九八年）嘉平。海虞王翬临。；书体：行楷书；全文： 印记：石谷、王翬之印

主题:

主要主题：山水冬景（雪景） ；次要主题：树木寒林．枯树 ；其他主题：山水溪涧、湍泉 ；其他主题：人物行旅 ；其他主题：树木  ；其他主题：建筑台阁 

技法:

写意 皴法雨点皴

参考资料:

收藏着录： 石渠宝笈三编（干清宫），第二册，页584 收藏着录： 故宫书画录（卷五），第三册，页524 收藏着录： 故宫书画图录，第十册，页105-106 内容简介（中文）： 王翬（西元一六三二－一七一七年），字石谷，号耕烟散人、乌目山人、剑门樵客、清晖主人。少即善画，继得王鑑、王时敏指授，并随之阅览各地珍藏，借机临摹名蹟，因能笔参古今，貌含南北。画技之精熟为清代第一。王翬六十七岁「临范宽雪山萧寺图」，结构用笔皆一本原作。其中稍有所增，如幅右远山，中间忽成两叠。最右一山，为原画所无，盖定稿后所添，非初临时之原意也。 内容简介（中文）： 王翬（1632－1717），字石谷，号耕烟散人、乌目山人、剑门樵客、清晖主人。少即善画，后又得王鑑、王时敏指授，并随之阅览各地珍藏，借机临摹名蹟，因能笔参古今，貌含南北，画技之精熟为清代第一。 本幅为王翬六十七岁之作，结构、用笔、布局皆一本原作。惟稍有增益，如幅右远山，中间忽成两叠。最右一山，为原画所无，盖定稿后所添，并非初临时的原意。(20110913) 内容简介（英文）： Wang Hui (style name Shigu; sobriquets Gengyan sanren, Wumu shanren, Jianmen qiaoke, Qinghui zhuren) was already a capable painter in his youth. Later he met Wang Jian and Wang Shimin, who not only taught him but also took him to view and copy famous works in many great collections. In this way, he was able to absorb both ancient and modern brush techniques. Because Wang Hui was able to combine the virtues of the Northern and Southern Schools of painting, he became the greatest master of brush technique in the Qing dynasty.Wang Hui did this work when he was in his 67th year by Chinese reckoning. The structure, brushwork, and composition all follow the original carefully. Only a few small additions were introduced, such as the distant mountains to the right, in the middle suddenly forming two folds. The mountains to the extreme right do not appear in the original and were added as an afterthought, not being worked in during the first stage of copying.(20110913) 内容简介（英文）： Wang Hui was a native of Ch’ang-shu in Kiangsu province. He was already a capable painter in his youth when he met Wang Chien and Wang Shih-min, who became his teachers. In addition to providing him with through instruction in painting, they also took him to view and copy the works of ancient masters in many great collections. In this way, he was able to absorb the brush techniques of both ancient and modern masters. Because Wang Hui was able to unite the best qualities of the Northern and Southern Schools of painting with his consummate, he became the greatest master of brush technique of the Ch’ing dynasty.Wang Hui produced this copy of Fan K’uan’s “Snow Scene” when he was in his 66th year. The technique and the composition follow the original carefully. A few small additions were obviously introduced as an afterthought and not worked in during the first stage of copying. The small mountain tops which suddenly appear on the extreme right are an example. 内容简介（英文）： Wang Hui, style name Shih-ku and sobriquet Keng-yen san-jen, was a native of Ch’ang-shu, Kiangsu. In his early years, he studied painting with Wang Chien and Wang Shih-min, but later ceaselessly copied Sung and Yüan dynasty (10th-14th c.) works, eventually finding his own style. This painting was done at the age of 66, serving as example of his study of tradition. Wang grasped the principles of the original composition, arranging the principal part in the central location of the painting, so that the majestic main mountain relies on the energy and momentum of the upward thrust and height. The small winding paths going upward on either side give the viewer a feeling of layer upon layer of silent depth in the mountains.