书体:

色彩:

设色

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅绢前隔水绫后隔水绫拖尾纸

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：古希天子（重一）
鑑藏宝玺：孔颜乐处谁寻得
鑑藏宝玺：羲皇上人我不为
鑑藏宝玺：寿
鑑藏宝玺：五福五代堂古稀天子之宝（重一）
鑑藏宝玺：八征耄念之宝（半印）
鑑藏宝玺：太上皇帝之宝
鑑藏宝玺：养心殿宝
鑑藏宝玺：菑畬经训
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：三希堂
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：宣统御览之宝
收传印记：明昌御览
收传印记：祕府
收传印记：明昌
收传印记：明昌宝玩
收传印记：御府宝绘
收传印记：内殿珍玩
收传印记：群玉中祕
收传印记：柯九思印
收传印记：天历之宝
收传印记：司印（半印）
收传印记：（半印漫漶不可识）
收传印记：吴瑞征印（重一）
收传印记：吴仲庚
收传印记：苍巖子
收传印记：蕉林鑑定（重一）
收传印记：冶溪渔隐
收传印记：家在北澶
收传印记：蕉林梁氏书画之印
收传印记：安仪周家珍藏
收传印记：朝鲜人
收传印记：安岐之印

题跋资料:

题跋类别：作者款识；作者：赵干；题跋位置：本幅；款识：无； 江行初雪。画院学生赵干状。

题跋类别：题跋；作者：清高宗前隔水  （乾隆御题诗。文不录。）印记：几暇怡情、乾隆宸翰

题跋类别：题跋；作者：清高宗拖尾  养心殿三希堂清玩真蹟印记：八征耄念、自彊不息

题跋类别：题跋；作者： 拖尾  天历二年一十日进入。奎章阁学士院典籤。臣张景先。奎章阁学士院参书。文林郎。臣柯九思。奎章阁学士院参书。奉训大夫。臣雅琥。奎章阁供奉学士承德郎。臣李讷。奎章阁供奉学士。中议大夫。臣沙刺班。奎章阁承制学士。奉训大夫。臣李泂。奎章阁承制学士。朝散大夫。中书左司郎中。臣朵来。奎章阁侍书学士。翰林直学士。中奉大夫。知制诰。同修国史。兼经筵官。臣虞集。奎章阁侍书学士。资善大夫。中书右丞。臣撒迪。奎章阁大学士。光禄大夫。中书平章政事。知经筵事。臣赵世延。奎章阁大学士。光禄大夫。知经筵事。臣忽都鲁都儿迷失。题籤清高宗    印记：神品、乾隆宸翰

主题:

主要主题：山水  主要主题：人物渔夫、船夫渔夫主要主题：树木杨柳 主要主题：船渔船 ；次要主题：花草芦苇 ；次要主题：走兽骡．驴 ；次要主题：翎毛鸬鹚 ；其他主题：山水江河、湖海江河；其他主题：人物侍从（侍女、童仆）侍从；其他主题：人物行旅 ；其他主题：树木  ；其他主题：树木寒林．枯树枯树；其他主题：船  ；其他主题：器用耕织渔猎渔（网）；罟；其他主题：建筑桥 

技法:

写意 皴法 人物衣纹描法(粗细线条) 

参考资料:

收藏着录： 石渠宝笈初编（随安室），下册，页1178 收藏着录： 故宫书画录（卷四），第二册，页 17 收藏着录： 故宫书画图录，第十五册，页153-160 参考书目： 1.胡赛兰，〈五代南唐赵干江行初雪图〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页54-57。2.〈五代赵干江行初雪〉，收入刘芳如主编，《书画装池之美》（台北：国立故宫博物院，2008年初版一刷），页154。3.陈韵如，〈赵干江行初雪图〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页133- 135。4.陈韵如，〈赵干江行初雪图〉，收入石守谦、葛婉章主编，《大汗的世纪:蒙元时代的多元文化与艺术》（台北：国立故宫博物院，2001年初版），页289。5.童文娥，〈江行初雪〉，收入林柏亭主编，《国宝菁华 — 书画‧图书文献篇》（台北：国立故宫博物院，2006年12月），页194。6.胡赛兰，〈国之重宝 — 书画精萃特展〉，《故宫文物月刊》，第19期（1984年10月），页19-20。7.本社，〈南唐赵干江行初雪〉，《故宫文物月刊》，第69期（1988年12月），页1。8.胡赛兰，〈五代南唐赵干江行初雪图〉，《故宫文物月刊》，第100期（1991年7月），页71。9.陈韵如，〈行走于蒙元的艺廊里 — 「大汗的世纪」特展 五代南唐赵干江行初雪〉，《故宫文物月刊》，第225期（2001年12月），页18-19。10.李霖灿，〈山水画中点景人物的断代研究〉，《故宫季刊》，第十三卷第二期（1978年冬），页25-40。11.梁丽祝，《南唐赵干江行初雪图之研究》，中国文化学院艺术研究所硕士论文，1987年。12.陈阶晋，〈五代南唐赵干江行初雪图〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页244。 内容简介（中文）： 赵干，南唐时江宁人。为南唐后主画院学生。山水多作江南景，画楼、观舟船、水村、渔市、花、竹。论者谓其深得浩渺之意，无一点朝市风埃。画江边渔作，旅客攒行。树皆中锋圆笔，遒劲有如屈铁，树干以干笔皴染，大似后人皴山，自具阴阳向背。所画芦花，以赭墨裹粉，一笔点成，小丘及坡脚，亦以淡墨成块涂抹而无皴纹，皆与后人异趣，人驴面目，并有苦寒之色。 内容简介（中文）： 南唐与后蜀的画院是宋朝成立前画坛的重镇，也是构成北宋宫廷绘画的主力。赵干任职南唐画院，本卷起首处之题字，一说为后主李煜手笔，更增此作在画史上之重要性。 冬日江边行旅所见渔家活动是本卷的主题。这本是作为帝王体察民风之用的「风俗画」，但赵干在画中又刻意地描绘了各种渔人造型、渔捞方式，并以瑟缩身躯的童子与垂首逆风而行的驴子等细节，来营造一种更具临场感的视觉效果。(20061206) 内容简介（中文）： 本画为现存最可信的五代南唐画蹟之一，上有传为李后主的题识，指明作者为画院画家赵干。全画描绘南方江边行旅所见渔人生活，时瑞雪初降，萧瑟之中仍可见庶民活动的和乐勤奋。这种风俗画既是纪实，也有理想化的成份。本卷原为金章宗收藏。一三二九年由奎章阁诸臣共同呈进，文宗并在幅中亲书神品上的评第。他的品题表示宫廷对中原传统的收纳，也形塑着自己的艺术帝王形象。 内容简介（中文）： 「江行初雪图」是一幅山水人物并重的绘画作品，也是传世作品中时代很早的一幅绢地山水画。画家赵干，江苏江宁人，南唐李后主在位时，为画院学生。自小生长在江南，因而所画山水多为江南景物，尤其擅长布景。在这幅手卷中，画家就利用弯曲的黄芦堤岸，构置出浩渺的水波江面。画中寒雪纷飞，江边渔人为了生计得继续顶着风雪干活，备极艰辛。而行走在岸边的旅客，同样冒着寒雪赶路，人、驴皆带着一付苦寒难行的面目，画家借着笔下人物的表情，反映出画中寒冻的江天。全幅淡墨渍染绢地，再洒白粉为雪。寒林枯木皆用中锋圆笔，劲挺有力。树干以干笔皴染，自具阴阳向背。所画芦花，以赭墨裹粉，一笔点成，极富创意。小丘及坡脚，也以淡墨成块涂抹而无皴纹。本幅上钤有金、元、明、清各朝内府收藏印，足证此卷为一件流传有绪的精品。 内容简介（英文）： This authentic early landscape painting on silk also includes vivid descriptions of figures. The Southern T’ang ruler Li Yu (r. 961-975) at the beginning of the scroll to the right wrote, “Early Snow on the River by Student Chao K'an of the Southern T'ang,” providing contemporary proof of both the title and artist. Chao K'an was a native of Kiangsu province who spent his life in the lush Kiangnan area. Not surprisingly, his landscape painting here shows the water-filled scenery typical of the area. Unrolling this scroll from right to left shows the activities of fishermen zigzagging among isolated expanses of water. Despite the falling snow, fishermen continue to toil away to make a living. Travelers on the bank also make their way in the snow, the artist showing the bitter cold through the expressions on their faces. The bare trees and dry reeds only add to the desolation of the scene. Chao K'an sprayed dots of white color for a realistic effect to suggest wind-driven flakes of snow. Chao K'an's centered brushwork outlining the bare trees is also powerful, and the tree trunks were textured with dry strokes to suggest light and dark. Chao also creatively depicted the reeds using single flicks of the brush, and he modeled the land forms without using formulaic strokes. The history of the seal impressions indicates that this masterpiece was treasured in both private and imperial collections starting from the Sung dynasty (960-1279). 内容简介（英文）： The painting academies established at the courts of the Southern T'ang and the Latter Shu were important precedents for the foundation of the Painting Academy in the following Sung dynasty, constituting a major force in the development of Northern Sung court painting. Chao K’an served in the Southern T'ang Painting Academy. The beginning of this handscroll at the right bears an inscription said to have been written by Li Yü (Li Hou-chu), the last ruler of the Southern T'ang, further adding to the importance of this work in the history of Chinese painting. The activities of fishermen form the main theme of this handscroll of travel scenery taking place by a riverside. As a “genre painting”, this work was probably done for the purpose of allowing the emperor to examine the life of common folk. However, this does not diminish its artistic merit, for Chao Kan intentionally rendered the fishermen in various manners and the details of fishing methods. He also used such details as the withdrawn shivering of the attendant and the donkey with head down making its way against the wind to create a strong visual effect of bitter cold and actually being there.(20061206) 内容简介（英文）： Chao Kan (fl. 10th cent.) served in the Imperial Painting Academy of Li Hou-chu, the last ruler of the Nan-t’ang dynasty. His landscapes depict the scenery of Kiangnan. In painting buildings, monasteries, boats, riverside hamlets, fishing villages, flowers and bamboo, it is said that he deeply expressed the boundless sentiment of nature without the slightest trace of urban taint. The landscape depicts fishermen on a river, with some travelers wending their way along a path. The trees were all painted with an upright brush, giving them a strength similar to bent steel. Chao Kan's use of dry-brush strokes and washes to paint the trunks of the trees is similar to the technique used by later artists in rendering mountains. The faces of figures and mules reflect the biting cold. 网页展示说明 此卷为一件重要的早期山水人物画作，画江南初雪，霜寒萧瑟，江边渔民的生活景况，岸上尚有行旅缩瑟前进，画中人物描绘精微，传神生动。通幅以淡墨渍染绢地，笔力遒劲，树石具阴阳向背，其技法之高妙与描绘之精细皆令人讚歎。卷首有「江行初雪画院学生赵干状」题字，后世据此定名，近有学者认为此卷与北宋晁补之《鸡肋集》中王维〈捕鱼图〉描绘吻合，指出或与北宋所认知的王维有关。(20110913) 网页展示说明 This handscroll is an important early painting of landscape and figures. Depicting an early snow in the Jiangnan region, a frigid cold pierces the air. With scenery of life among fishermen along the river, on the banks are travelers making their way huddled against the cold, the figures in the painting depicted with great refinement and lively realism. The light ink and washes on the silk ground throughout the painting reveal the force of strong brushwork, and trees and rocks reveal shading, the marvels of Zhao’s technique and the refinement of his painting still as amazing as ever. At the beginning of the scroll is an inscription for “Painting of ‘Early Snow on the River’ by the Student Zhao Gan.” Later generations have followed this title, but recent scholars believe that this scroll accords with the painting “Catching Fish” by Wang Wei found in Collection of Trifling Matters by Chao Buzhi of the Northern Song, pointing out that it may be related to what people in the Northern Song considered Wang Wei’s style to be.(20110913)