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▲宋 佚名《松泉磐石图》

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       飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身诬陷，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，临了用小弹弓弹墨花于其上，如宋东谈主弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。

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       李成（919—967）擅画华北之山水，尤以步地荒原荒寒之寒林最具特质。继之有郭熙（手脚于十一生纪后半叶）握续发展，慢慢酿成「李郭」一系之山水画派，寒林图也成为宋代（960—1279）至极流行之题材。在宋代尚由文同（1018--1079）、苏东坡（1036--1101）等东谈主之发展，至元代酿成“古木竹石”之新题材。本幅画松及古木，不但强调瘿瘤累累，还一再重叠枝势折转之花式。相比宋东谈主乔木图，本幅画树枝之折转花式更趋向于花式化。此画风约在南宋（1127—1279）的中、晚期，与马夏学派强调文字之趣有不谋而合之妙。画枝干之花式，如施展写书道之用笔，画家在形容确乎之形象，与施展潇洒之文字，两者之间，实以较偏重后者。枝桠间尚可见很多墨点，是在写枝干、树叶之余，墨韵犹有不及之感 再以弹墨法握笔在小弓之弦敲弹，使墨点喷洒在画上，酿成点、线、面更丰富的变化。

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原标题：中交地产：目前未参与海南海口城中村的改造工程

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