传唐代李昭道所绘制的《春山行旅图》是“明皇幸蜀图”传本序列中的一张 独特作品，作为一张现实主义的山水画作品，主题记录着“明皇幸蜀”的历史故 事，画面中却处处体现着山水画家对于浪漫仙山的追求。本文通过对文献、作品 信息和相关研究的挖掘，并对信息进行梳理，对《春山行旅图》的创作年代分析 以及与《明皇幸蜀图》的画面内容对比，以证明其中的现实性。从晚明“苏州片” 对于高古画法的选择进行研究，寻找《春山行旅图》中独特画面风格的来源。探 析用高古画法塑造出的与其他现实主义题材山水画不同的浪漫仙山，并从各个母 题图像来分析画面中不同元素对于仙境塑造所起到的作用。此研究对于《春山行 旅图》中的浪漫仙山进行深入研究，从中得出的道教“无为”之思和对于浪漫的 追求融入到笔者的艺术实践中，从观念到主题选择，再到技法创新，从内到外进 行全面启发。

The Spring Mountain Travelling Picture painted by Li Zhaodao in the Tang Dynasty is a unique work in the sequence of "Ming Emperor's Favourite Picture of Shu". As a realistic landscape painting, the theme records the historical story of "Ming Emperor's Favourite Picture of Shu", but the picture reflects the landscape painter's pursuit of romantic fairy mountains. As a work of realism, it records the historical story of the "Ming Emperor's Visit to Shu", but the picture reflects the landscape painter's pursuit of romantic mountains. This paper analyses the creation date of Spring Mountain Travelling Picture and compares it with Ming Emperor's Fortunate Visit to Shu through the excavation of literature, work information and related research, and sorting out the information, in order to prove the realism of the painting. We will study the choice of antique painting methods in the late Ming "Suzhou Pieces", and search for the source of the unique style of the painting in "Travelling in the Spring Mountains". It explores the romantic fairy mountains that are different from those in other realist landscape paintings, and analyses the role of different elements in the painting in the creation of the fairyland from each of the main theme images. This study is an in-depth study of the romantic fairy mountains in Spring Mountain Travelling Pictures, from which the Taoist idea of "doing nothing" and the pursuit of romance are integrated into the author's artistic practice, from conception to choice of subject matter to innovation of technique, and from the inside to the outside, to provide comprehensive enlightenment.