《渔村小雪图》卷，北宋，王诜作，绢本，设色，纵44.5cm，横219.5cm。

　　描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。

 

--------Introduction in English--------

 

"Fishing Village Snow Map" Volume, Northern Song Dynasty, Wang Jiezuo, silk, color, 44.5 cm vertical, 219.5 cm horizontal.

Describe the forest scenery of fishing village in early winter. In the picture, the snow mountain, the riverside fishing boat, the peaks turn around and the scenery moves easily. The whole picture is in a quiet and empty atmosphere. Although fishermen work hard, it reflects the elegant feelings of literati and recluses who yearn for seclusion in the mountains and forests. This picture is a work by Wang Jie, a teacher of Li Cheng. In the picture, the outline of the mountain stones is made up of a side-edge short pen, and the outline of the edge is broken with ink. After outlining, the outline is turned inward with clear water and the ink is light. Hanlin Changsong uses the center ink, which highlights its noble character. In order to show the snow cover, besides the white mountains, the author also sprayed white powder on the top, branches and sand feet. In order to show the sunshine after snow, the author also dyed gold powder on the tree head and reed tip, absorbed the painting method of Jinbi landscape since Tang Dynasty in the whole ink and wash, which is a creative practice. This work fully reflects the literati painting of the Northern Song Dynasty emphasizing the creation theme of "painting in poetry and poetry in painting". It is a model work of "uniformity of poetry and painting" that uses skillful techniques to write "the scenery of the poet Moqing who is difficult to describe".