[{"data":1,"prerenderedAt":68},["ShallowReactive",2],{"artwork-guan-shan-xing-lv-tu-dai-jin-222028":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":33,"zanCount":34,"manualWeight":35,"mainColor":36,"tagLinks":37},222028,"guan-shan-xing-lv-tu-dai-jin-222028","关山行旅图","明","戴进","北京故宫博物院","作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26],"高清","国画","水墨","皴法","山水","小桥","流水","树","山石","房屋","牛","马","亭","行旅","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纸本，设色","纵61.8厘米，横29.7厘米","山水画精选",[30,32],"水墨画精选",86,2,0,"FFFFFF",[38,40,42,44,46,48,50,52,54,56,58,60,62,64,66],{"name":12,"slug":39},"gao-qing",{"name":13,"slug":41},"guo-hua",{"name":14,"slug":43},"shui-mo",{"name":15,"slug":45},"cun-fa",{"name":16,"slug":47},"shan-shui",{"name":17,"slug":49},"xiao-qiao",{"name":18,"slug":51},"liu-shui",{"name":19,"slug":53},"shu",{"name":20,"slug":55},"shan-shi",{"name":21,"slug":57},"fang-wu",{"name":22,"slug":59},"niu",{"name":23,"slug":61},"ma",{"name":24,"slug":63},"ting",{"name":25,"slug":65},"xing-lv",{"name":26,"slug":67},"yin-zhang",1777535398986]