[{"data":1,"prerenderedAt":57},["ShallowReactive",2],{"artwork-dai-lu-fang-bei-tu-ce-huang-yi-233927":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":24,"material":25,"size":26,"collection":27,"collections":28,"showCount":29,"zanCount":30,"manualWeight":30,"mainColor":31,"tagLinks":32},233927,"dai-lu-fang-bei-tu-ce-huang-yi-233927","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。",[12,13,14,15,16,17,18,19,20,21,22,23],"国画","册页","书画","水墨","浅绛","行书","山水","亭","孤舟","人物","访碑","大明湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f648ea96b5330408be3747d4b9d6734.jpg","纸本，设色","纵17.4厘米，横50.8厘米","",[],2,0,"BDBDBD",[33,35,37,39,41,43,45,47,49,51,53,55],{"name":12,"slug":34},"guo-hua",{"name":13,"slug":36},"ce-ye",{"name":14,"slug":38},"shu-hua",{"name":15,"slug":40},"shui-mo",{"name":16,"slug":42},"qian-jiang",{"name":17,"slug":44},"xing-shu",{"name":18,"slug":46},"shan-shui",{"name":19,"slug":48},"ting",{"name":20,"slug":50},"gu-zhou",{"name":21,"slug":52},"ren-wu",{"name":22,"slug":54},"fang-bei",{"name":23,"slug":56},"da-ming-hu",1777535470736]