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随着山水画技法不断完善与发展,北宋时期的山水画逐渐摆脱了隋唐时期的稚拙简略,其表现技法逐渐趋于成熟。此时的山水画大体遵循“先整体,后细节”的创作原则,对画面形象进行由浅入深、由简入繁的描绘。一幅山水画从创稿到完成,通常先将画面中的各个山头、植被、瀑布、溪水、屋舍、道路、桥梁所在的位置用淡墨勾画出,而后再进行纹理脉络等细节描绘。五代荆浩曾说:“吴道玄有笔而无墨,项容有墨而无笔,浩兼二子所长而有之。”因此,当时“笔”、“墨”二
With the constant improvement and development of landscape painting techniques, the landscape paintings in the Northern Song Dynasty gradually got rid of the naive sketch of the Sui and Tang dynasties, and their performance techniques gradually became mature. Landscape painting at this time generally follows the principle of creation of “the whole first, the detail of the second”, and the image of the painting is illustrated from simple to complex and from simple to complex. A landscape painting from the creators to the completion of the painting, usually first of all the pictures of the hills, vegetation, waterfalls, streams, houses, roads, bridges where the location outlined with light ink, and then details such as texture context. Five generations of Jing Hao once said: “Wu Duanxuan pen without ink, the content of ink without pen, director of the second and the second.” “Therefore, at that time” pen “,” ink "two