《关山行旅图》轴，明，戴进作，纸本，设色，纵61.8cm，横29.7cm。

　　本幅署款“静庵”，无年款，从趋于成熟的集大成面貌判断，当作于戴进晚年的天顺年间（1457—1464年）。

　　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。

　　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。”

　　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。

 

--------Introduction in English--------

 

"Guanshan Travel Map" axis, Ming, Dai Jinzuo, paper, color, 61.8cm vertical, 29.7cm horizontal.

This "Jing'an" has no yearly allowance. Judging from its mature collectivity, it is regarded as Dai Jin's Tianshun years (1457-1464).

The theme and layout of the works originated from the factions of Li Cheng and Guo Xi in the Northern Song Dynasty. The picture depicts a high and far-reaching panoramic landscape. The main mountain is in the middle. It stands tall and majestic. The left and right scenery are contrasted with each other. It is a stable pyramid-shaped composition with great momentum. The scenery is closely connected with nature, and the sense of loftiness and far-reaching mainly depends on the inherent relationship between the scenery. For example, in the middle view, villages are arranged, which are connected by embankments, earth roads and fortresses, pine trees, rivers and slab bridges, and jungles and mountain paths are connected with steep mountains and cities in the foreground. From near to far, from bottom to top. The scenery has overcome the artist's immature traces in middle age, that is, to create height and distance by unnatural stone piling or artificial smoke placement, which shows that Dai Jin had a better understanding of the advantages and disadvantages of the Northern Song Mountains and rivers in his later years, and attached great importance to natural cloth, and strived to be true and natural.

The life scenes shown in the pictures are real and vivid, full of vitality. Nearby, three donkeys staggered along the Banqiao Bridge. Two travelers shouldered the burden, followed by the basket, showing a relaxed state of rest after a long journey. In Zhongjing village, there are a few simple huts and many people are moving. There are travelers who unload their burdens and ask questions, shopkeepers who entertain guests, children who sit and play idly, and puppies standing at the head of the village. These plots truly convey the simple and peaceful atmosphere of life in remote mountain villages. On the far-sighted mountain road, there are those who pull donkeys up the mountain, and those who bow and shoulder down the mountain, showing another difficult situation. The environment is livable and travelable, and the visitors are in it, as Guo Xi of the Northern Song Dynasty advocated in his book Lin Quan Gao Zhi: "It is better to live and travel than to live and travel."

This drawing method is a collection of features. Mountains and rivers are of the strongest physique of various families. The steep main mountain is close to Li and Tang dynasties. The nearby barrier rocks are like Guo Xi, Jinzhi Songgan imitates Liu Songnian. The dense moss spots and bushes are also taken from Shengzhao. They are well combined and natural. They are patched together and distorted in their youth and middle age. The overall momentum is both magnificent and luxuriant, which reflects the painter's efforts to integrate the characteristics of the north and the south, and to integrate masculinity and feminity into one. Pursuit. In terms of pen and ink, it is flexible to use according to the image. The combination of point dyeing and marking, the combination of dry and wet, the combination of side strokes of the center, the alternation of roundness, vigor and vigor, the various methods of marking, such as axe splitting, linen clothing and ideas, the abundant point leaves, the methods of clipping leaves, point leaves and needle accumulating, demonstrates the varied and very sophisticated skills. This picture can be worn into the fine works of old age.