Late Qing dynasty–Republic period

Ink, color, and white pigment on silk, framed.

The tall, narrow composition depicts the celebrated Eastern Han scholar-official Yuan An seated alone at a writing table during a heavy snowfall. Within the nearly empty room are only books, writing implements, and a vase of flowering prunus. Outside, an austere winter garden is dominated by massive ancient trees and snow-laden bamboo. The scale of the solitary figure, almost concealed within the architecture and landscape, emphasizes Yuan An’s withdrawal from material concerns and his steadfast moral character.

The subject derives from the story of “Yuan An in the Snow,” recorded in traditions associated with Fan Ye’s History of the Later Han. During a severe snowstorm in Luoyang, while others went out in search of food, Yuan An remained lying inside his house, unwilling to trouble those who were themselves suffering. The magistrate of Luoyang, recognizing his integrity and self-restraint, subsequently recommended him as a filial and incorrupt candidate for office. The story became an enduring symbol of the cultivated scholar who accepts poverty and hardship without compromising his principles.

Here, Yuan An’s character is echoed by the natural setting. The bamboo rising behind the residence and the monumental old trees in the foreground serve as visual metaphors for resilience, moral uprightness, and an unyielding spirit. The artist applies dense, subdued ink washes to the trunks and rocks, with deliberate texture strokes recalling the gravity of Song dynasty painting. White pigment is used extensively and effectively to articulate the snow along the branches, bamboo leaves, rooflines, rocks, and ground. These luminous accents establish the wintry atmosphere and create a striking contrast with the deeply modeled trees.

Although the painting bears a five-character inscription at the lower right reading “Painted by Ma Yuan of Hezhong” (河中马远画, active ca. 1190–1225), it is not considered a work by the Southern Song master. The composition represents a later interpretation of Ma Yuan and the Southern Song academy tradition, probably produced during the late Qing dynasty or Republic period. Its dramatic foreground trees, compressed architectural setting, strong contrasts of dark ink and white snow, and poetic placement of the diminutive figure nevertheless preserve important characteristics associated with Southern Song court painting.

The upper right bears an apocryphal imperial collection seal reading “Qianlong Yulan Zhibao” (乾隆御览之宝, “Treasure Appreciated by the Qianlong Emperor”).

The upper section bears inscriptions bearing the names of Zhao Zhiqian and Li Dongyang.

The inscription bearing the name of Zhao Zhiqian (1829–1884) reads:

“文人精华，名实克践，妙墨流芳，焚香拜展。光绪九年四月既望，会稽赵之谦敬跋。”

“The essence of the cultivated scholar; reputation and substance are both fulfilled. This marvelous ink shall transmit its fragrance through the ages. Having burned incense, I respectfully unfolded and viewed it. Respectfully inscribed by Zhao Zhiqian of Kuaiji, on the day following the full moon of the fourth month in the ninth year of Guangxu.”

The date corresponds to the sixteenth day of the fourth lunar month of Guangxu 9, or approximately in the middle of May, 1883. Although this date falls within Zhao Zhiqian’s lifetime, the inscription should be described as bearing his name rather than accepted as an authentic inscription.

The longer inscription bearing the name of Li Dongyang (1447–1516)， which is also not authentic. It reads:

“马钦山为宁宗时画苑领袖，所作重山复岭，古木瀑泉，近世少及。用笔葱郁浑厚，与北宋范仲立想颉颃。此帧盖写袁邵公为河南尹时之景，绕以修篁古木，仍寄其清高孤标之概。较僵卧洛阳时，已乐然矣。获此珍者，当什袭藏之。长沙李东阳题。”

“Ma Qinshan was a leading master of the Imperial Painting Academy during the reign of Emperor Ningzong. Few painters of later times could equal his depictions of layered mountains, ancient trees, waterfalls, and springs. His brushwork is luxuriant and substantial and may be considered a worthy counterpart to that of Fan Zhongli of the Northern Song. This painting apparently depicts Yuan Shaogong during his tenure as Intendant of Henan. Surrounded by tall bamboo and ancient trees, he still embodies an air of lofty purity and solitary distinction. Compared with the time when he lay immobile in the snow at Luoyang, he is already at ease and content. Whoever obtains this treasure should preserve it with the greatest care. Inscribed by Li Dongyang of Changsha.”

Image: 54 x 19 3/4 inches (137.2 x 50.2 cm).

Frame: 56 1/4 x 22 inches (142.9 x 55.9 cm).

晚清至民国 仿马远款《袁安困雪图》 镜框

绢本设色，并施白粉。

画面以狭长立幅表现东汉名士袁安雪中独处的典故。袁安端坐室内书案之前，室中除书册、文房用具及一瓶梅花外，几乎别无长物。庭院内外大雪覆盖，古木盘屈参天，修竹环绕屋后，人物则被置于建筑深处的一隅。画家有意缩小人物所占比例，以幽静空寂的居室和严寒肃穆的自然环境，烘托袁安安贫自守、不扰于物的精神品格。

“袁安困雪”典出南朝宋范晔《后汉书·袁安传》相关记载及唐代李贤注引《汝南先贤传》。相传洛阳大雪，众人纷纷外出求食，袁安却独自僵卧家中，认为大雪之际人人皆困，不应再去打扰别人。洛阳令巡行至其居所，深为袁安的操守所感，后来举荐其为孝廉。此后，“袁安卧雪”成为士人安贫守节、清高自持的重要文化象征，历代诗文亦常以“袁安卧”“僵卧袁安”等典故称颂坚贞不屈的文人品格。

此画并未着力表现故事中袁安僵卧待雪的戏剧性瞬间，而是将他安排在书案前静坐，呈现一种经过文人化重构的精神肖像。案上书卷、文房与瓶梅象征其以学问自守；屋后修竹凌雪不折，屋前古木盘根挺立，正与人物清高孤标的气节彼此呼应。人物虽小，却是全画精神汇聚之处。

画面用墨古厚，树干以沉着的皴擦和层层墨染塑造体积，枝干屈曲苍劲，是全幅最具力量的部分。古木、坡石与远山皆以灰黑色调统一，颇能营造宋画深沉凝重的气息。白粉运用尤其醒目，不仅点染积雪，更沿树枝、竹叶、屋顶及坡石轮廓层层勾勒，使白雪在深墨背景中显得晶莹清寒。雪景的寒意由上而下贯穿全幅，同时又使庭院与人物所在的室内空间显得格外安静。

右下角有隶书款“河中马远画”五字，并钤印。“河中”指马远家族的祖籍河中府，马远为南宋宁宗朝画院名家，号钦山。此画非马远真迹，而是晚清至民国时期追摹马远及南宋院体传统的仿古作品。其近景古木突出、建筑空间压缩、人物缩小并偏置一隅，以及浓墨与白雪之间的强烈对比，均体现了后世对于南宋院体画视觉语言的理解与再创造。

右上钤“乾隆御览之宝”印，应为后仿乾隆鉴藏印，不宜作为清宫收藏流传的依据。

画幅上方另有署赵之谦、李东阳名的两段题跋。

赵之谦（1829–1884）款题：

“文人精华，名实克践，妙墨流芳，焚香拜展。光绪九年四月既望，会稽赵之谦敬跋。”

“光绪九年”即公元1883年；“四月既望”指农历四月十六日，即望日之后一日，约合公历1883年5月22日。此非赵之谦真迹。

李东阳（1447–1516）款题：

“马钦山为宁宗时画苑领袖，所作重山复岭，古木瀑泉，近世少及。用笔葱郁浑厚，与北宋范仲立想颉颃。此帧盖写袁邵公为河南尹时之景，绕以修篁古木，仍寄其清高孤标之概。较僵卧洛阳时，已乐然矣。获此珍者，当什袭藏之。长沙李东阳题。”

题跋称颂马远为宋宁宗时期画院领袖，将其葱郁浑厚的笔墨与北宋范宽相提并论，并点明画中人物为字邵公的袁安。题跋特别指出，画家以修篁古木寄托袁安“清高孤标”之概，正揭示了本幅最重要的象征结构：书案前的袁安、雪中的竹木以及苍劲古树，共同构成一幅关于文人操守的精神图像。此非李东阳真迹。

此作为晚清至民国仿古绘画中的精良之作。虽然马远款、乾隆鉴藏印及两段名人题跋均属于后世仿署性质，但作品本身构图完整，笔墨沉厚，白粉雪景表现出色，人物、室内文房与庭院古木之间又形成明确而有层次的文化寓意，确有南宋院体雪景画的深沉意境。

画心：54 x 19 3/4 英寸（137.2 x 50.2 厘米）。

镜框：56 1/4 x 22 英寸（142.9 x 55.9 厘米）。

For condition report and additional photos, please contact the Asian Art Department.