书体:

色彩:

浅设色

装裱形式:

卷

创作时间:

清圣祖康熙五十六年（1717）

文字类型:

质地:

本幅纸引首纸拖尾纸

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：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：苍巖子
收传印记：蕉林鑑定

题跋资料:

题跋类别：作者款识；作者：王翬；题跋位置：本幅；款识：一带平溪。数丛茅屋。背山临水。曲磵横桥。掩暎重林郁阜间。而群峰遥接。汀沙葭渚。回合多姿。此卷皴染布格。差近巨然。而荒寒萧飒。又彷彿辋川雪意景也。丁酉（西元一七一七年）春正。乌目山中人王翬。；书体：行书；全文： 印记：海虞、耕烟、王翬之印、来青阁、我思古人、耕烟散人时年八十有六

题跋类别：题跋；作者：严绳孙拖尾锡山严绳孙识；书体：行书；全文：自文沈两先生各自名其家。吴中后学宗之。然颇不复见古法矣。王廉州起而发前贤之藏。源流董巨。实亦文沈功臣。廉州没。世推石谷。今观此帧。诚所谓尚有典刑者也。锡山严绳孙识。印记：天水绳孙、藕荡渔人、（一不可辨）

题跋类别：题跋；作者：查士标拖尾白岳查士标题；书体：行书；全文：积雪连朝。剥啄都绝。燕坐焚香。展阅石谷此图。如坐万山深处。更增寒冽。学北宋人画。那得不让此老出一头地。白岳查士标题。印记：梅壑、查二瞻

题跋类别：题跋；作者：王时敏引首王时敏书。（行书）。；书体：隶书；全文：云烟供养。（八分书）。王时敏书。（行书）。印记：渔隈半席、王时敏印、西庐老人

主题:

主要主题：山水冬景（雪景） ；次要主题：山水溪涧、湍泉 ；其他主题：树木杨柳 ；其他主题：树木  ；其他主题：走兽骡．驴驴；其他主题：器用家俱（屏风）桌；其他主题：人物百姓 ；其他主题：花草 草；其他主题：器用耕织渔猎渔；其他主题：树木竹 ；其他主题：山水山径 ；其他主题：建筑篱笆、围墙 ；其他主题：船  ；其他主题：人物高士（士人、隐士）高士；其他主题：树木芭蕉 ；其他主题：树木寒林．枯树枯树；其他主题：建筑房舍 ；其他主题：人物农夫 ；其他主题：建筑桥 ；其他主题：树木松 

技法:

写意 皴法 人物衣纹描法(减笔) 

参考资料:

收藏着录： 石渠宝笈续编（御书房），第四册，页2092 收藏着录： 故宫书画录（卷四），第二册，页263 收藏着录： 故宫书画图录，第二十册，页183-184 内容简介（中文）： 王翬（西元一六三二－一七一七年），江苏常熟人，字石谷。自幼善画，青年时得拜王鑑、王时敏为师，二人尽传所学，又常常带他参观各地收藏，借此揣摩古人画技，因此他能够笔参古今，貌合南北，画技精熟，为清初四大家之一。此图成于康熙丁酉，是八十六岁临终前数月的作品。画上自题皴染布格，差近巨然，而荒寒萧飒又彷彿王维的雪景。观其笔墨，虽笔踪颤动，不若盛年，而下笔老辣，意境荒寒，确另有盛年异趣之处。 内容简介（英文）： Wang Hui (style name Shih-ku) was a native of Ch’ang-shu, Kiangsu. As a child he was skilled in painting, and as a youth he came to the attention of Wang Chien and Wang Shih-min, who took him in as a student and thoroughly trained him. Wang Hui often accompanied them on trips to see various painting collections, which he examined and copied carefully, learning the styles of the ancient masters. Thus, he became accomplished in both old and new styles, and united southern and northern styles in a refined and polished fashion. Wang Hui is known as one of the Four Wangs of the early Ch’ing dynasty.This work was executed in 1717, when Wang Hui was 85-years-old, just a few months before his death. In his inscription on the work, Wang Hui says that the rock-texturing methods, coloring and composition were after the 10th-century painter Chü-jan, while the cold and desolate air emulated Wang Wei’s snowscape The Wang-ch’uan Villa in Snow. Wang Hui’s tremulous brushwork here is not as firm as it used to be in his best years, but his technical skills are austerely mature with decisiveness and power, and the desolate cold he has portrayed here penetrates with an effectiveness that had rarely achieved before.