[{"data":1,"prerenderedAt":48},["ShallowReactive",2],{"artwork-dai-lu-fang-bei-tu-ce-huang-yi-233920":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":21,"material":22,"size":23,"collection":24,"collections":25,"showCount":26,"zanCount":27,"manualWeight":27,"mainColor":28,"tagLinks":29},233920,"dai-lu-fang-bei-tu-ce-huang-yi-233920","岱麓访碑图册","清","黄易","北京故宫博物院","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[12,13,14,15,16,17,18,19,20],"国画","册","水墨","浅绛","山水","建筑","书法","皴法","访碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52a3fbe9fbad00c04461367dd3c1de8.jpg","纸本，设色","纵17.4厘米，横50.8厘米","",[],3,0,"BDBDBD",[30,32,34,36,38,40,42,44,46],{"name":12,"slug":31},"guo-hua",{"name":13,"slug":33},"ce",{"name":14,"slug":35},"shui-mo",{"name":15,"slug":37},"qian-jiang",{"name":16,"slug":39},"shan-shui",{"name":17,"slug":41},"jian-zhu",{"name":18,"slug":43},"shu-fa",{"name":19,"slug":45},"cun-fa",{"name":20,"slug":47},"fang-bei",1777535458363]