石渠寶笈初編(養心殿),上冊,頁647 &故宮書畫錄(卷五),第三冊,頁195 &故宮書畫圖錄,第四冊,頁125-126&曹知白(西元一二七二─一三五五年),華亭(今上海)人。字又玄,一字貞素,號雲西。擅長山水畫,屬於郭熙一派。 峰巒滿罩白雪,圓渾厚重。山脊上枯樹寒林挺立,江面空闊,舟船行旅都已絕跡 ,呈現出荒寒靜寂的感覺,筆墨則有著疏朗淡雅的韻味。據幅上黃公望的題識,曹氏作此畫時七十九歲,而黃氏年已八十二歲。&Ts'ao Chih-po, a native of Hua-t'ing (modern Shanghai), specialized in landscape painting which falls into the Kuo Hsi tradition. The rounded peaks in this painting are covered with a thick layer of snow. Clusters of dry and wintry trees dot the fore-, middle-, and background. The river is empty and vast, without a single trace of a traveler on either foot or boat. This even further emphasizes the sense of frigid cold and solitude. The use of brush and ink are harmoniously light and elegant. According to the inscription in the upper left corner by the famed artist Huang Kung-wang, Ts'ao Chih-po did this work at the age of 78, which would date it to 1350.& 另外,有學者認為「雪圖」,可能是曹知白早年精仿宋人之作。曹知白(1271?1355)字又玄,一字貞素,號雲西,華亭人。據記載,知白身長七尺,美鬚髯,性機敏。曾北遊京師,王侯巨富,多折節相交。後南歸隱居讀易。工山水畫,平遠法李成,山水師郭熙,筆墨清潤,筆簡意淡,景緻幽雅,全無俗氣。如「群峰雪霽」,畫峰巒覆雪,枯樹寒林挺立,江面空寂,佈局與「雪圖」在筆墨或章法看來,關係很密切。但是兩相比較之下,「群峰雪霽」的主峰,分上下層疊,氣勢已大為減弱,前景河岸加寬,為元人一河兩岸的構圖形式,山石造型趨於圓渾,勾畫松針筆法較秀緻。而「雪圖」大抵用乾筆焦墨為多,運筆雄強勁健,淡墨層層烘染,畫風淳厚拙朴,與曹知白「群峰雪霽」圖,給人一種清氣可愛的文秀氣質不盡相似。因此不管從構圖、筆墨、作畫意念等各方面看「雪圖」,應非出於元人繪製,而是出於北宋末李郭系統的傳承者所作。&Ts'ao Chih-po, a native of Hua-t'ing (modern Shanghai), specialized in landscape painting, which falls into the Kuo Hsi tradition. The rounded peaks in this painting are covered with a thick layer of snow. Clusters of dry and wintry trees dot the fore-, middle-, and background. The river is empty and vast, without a single trace of any traveler on either foot or boat. This even further emphasizes the sense of frigid cold and solitude. The use of brush and ink are harmoniously light and elegant. According to the inscription in the upper left corner by the famed artist Huang Kung-wang, Ts'ao Chih-po did this work at the age of 78, which would date it to 1350.