书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：宜子孙
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：宁寿宫续入石渠宝笈
鑑藏宝玺：乐寿堂鑑藏宝
鑑藏宝玺：古希天子
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鉴玺
收传印记：悦生图书
收传印记：天历之宝
收传印记：晋国奎章
收传印记：司印（半印）
收传印记：安氏仪周书画之章
收传印记：思原堂
收传印记：麓村

题跋资料:

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：乾隆丁卯御题；书体：行书；全文：来往何纷沓。关山自逦迆。步馀霜迹白。望里峰容紫。沽酒向茅棚。问渡愁野水。妙矣画中趣。悠哉画外旨。谁非行旅人。竭然独传此。乾隆丁卯。御题。印记：乾隆宸翰

题跋类别：题跋；作者：王铎画轴下背后边际王铎为文老亲翁。乙丑十二月初三日。 关仝画多纵横博大。旁若无人。此帧精严。步骤端详。或其拟项容郭恕先诸家欤。文荪博学好古。珍若天球。不可轻亵也。王铎为文老亲翁。乙丑十二月初三日。

主题:

主要主题：山水  ；其他主题：山水石磴、栈道 ；其他主题：山水江河、湖海 ；其他主题：人物商贩 ；其他主题：人物百姓 ；其他主题：人物行旅 ；其他主题：树木  ；其他主题：走兽  ；其他主题：走兽狗 ；其他主题：翎毛雁 ；其他主题：翎毛鸡 ；其他主题：建筑茅草屋 ；其他主题：建筑店舖 ；其他主题：建筑寺庙 ；其他主题：建筑篱笆、围墙 ；其他主题：建筑桥 ；其他主题：船篷舟 ；其他主题：器用饮食器 ；其他主题：器用家俱（屏风） ；其他主题：走兽骡．驴 

技法:

参考资料:

收藏着录： 石渠宝笈续编（宁寿宫），第五册，页2641 收藏着录： 故宫书画录（卷五），第三册，页16-17 收藏着录： 故宫书画图录，第一册，页59-60 参考书目： 1.陈韵如，〈关仝关山行旅〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页35- 37。 内容简介（中文）： 关仝，长安人（今陜西长安县西北），五代梁时人。安仪周评本幅云：绢素厚硬，神气焕然。中一大山高耸，四面浑圆，其雄伟之势，令人骇目。山石轮廓，落笔有粗细断续之分，皴法加之水墨皴染。其间山腰楼观，溪面桥梁，茅屋野店，杂以鸡太驴豕之属，客旅往来，宛然真景。 内容简介（中文）： 根据画轴下方背后清初名书家王铎写于一六二五年的题识，本画被归为荆浩的学生关仝（活动于十世纪中期）之作。它的内容与〈秋山晚翠〉颇为不同，描绘着一个充满人物活动的山谷景象。其中对行旅、旅店与村落中居民与牲畜等细节，掌握得十分生动。这让人想起《宣和画谱》中的关仝长于「村居野渡」、「渔市山驿」的记载。但在山体质面的处理上，此作则较为简拙，或许不是关仝真蹟，而系学生辈，如商训在十一世纪中期的创作。 此画在村落部份有许多修补，左下角跪拜者前之伏地人物，显然即为补绢上的后添之笔。(20061206) 内容简介（英文）： This painting, according to the 1625 inscription by the famous early Ch'ing calligrapher Wang T’o on the lower back of the scroll, is ascribed to Kuan T'ung, a student of Ching Hao. The contents, however, differ from those of “Late Greenery of Autumn Mountains” also on display here, depicting scenery of a mountain valley brimming with human activities. Among them, such details as figures traveling, people at an inn, and the livestock and village residents reveal a firm grasp of life in the countryside. It also reminds one of a record in the Northern Sung imperial catalogue Hsüan-ho Manual of Painting, describing Kuan T'ung as painting “village residences and rustic crossings” as well as “fishing markets and mountain stops”. However, in terms of the texturing of the mountains, this work appears slightly simplified and awkward. Although perhaps not an actual work by Kuan T’ung, it probably belongs to a later generation following his style, such as Shang Hsün, active in the mid-11th century. There are many repairs to the village part of this work. For instance, the figure in the lower left corner prostrating on the ground is obviously a later addition on the added patch of silk.(20061206) 内容简介（英文）： Kuan T'ung was a native of Ch'ang-an, Shansi. An I-chou has criticized this painting as follows: "The silk is thick and stiff, but the vital spirit is vibrant, From the center of the painting rises a lofty mountain, imposing and awe-inspiring in appearance. The peaks and rocks are outlined, the brush being applied in thick, thin, broken, and continuous strokes. The mountains is skirted by storied buildings and a monastery. A bridge, thatched huts, and country shops complete this realistic scene, where travelers come and go amid a menagerie of chickens, dogs, mules, and pigs."