送客苍溪县，山寒雨不开。
直愁骑马滑，故作泛舟回。
青惜峰峦过，黄知橘柚来。
江流大自在，坐稳兴悠哉。
《放船》 唐 · 杜甫
山水点景人物船只注意与画面融为一体，不可分割，多是画面点睛之笔。撑船的人用笔不可犹豫、滞气。
山水点景人物在山水画中不可孤立存在。若山是山，人是人，还不如不画，不如和倪瓒“空无一人”的好。
山水点景人物小素材取自古人作品，便于大家学习、收藏。比直接从《芥子园画谱》中选取要好一些。
最后，我们来了解一下如何取舍山水的点景——
取舍是中国画造型最基本的艺术处理手段，山水点景也不例外，如果没有了取舍，山水画的点景也就没有了艺术性可言，如果山水画家不懂取舍，山水画的点景也就淡不上创造。黄宾虹先生曾言：“取舍可由人，取舍不由人”。所谓取舍可由人，是指世间万物在绘画创造中可只取我之所需，不需要者皆可舍去；所谓取舍不由人，是指取舍要以客观对象的典型特征为依据，不可因取舍或借取舍之名主观臆造。山水画点景的取舍，无论繁简，首先要保持客观对象的典型特征，在保留生活物象特质的基础上，对点景之物进行艺术性的加工、概括、提炼。
山水画点景的取舍，首先对具体点景物象而言，要懂得概括与提炼，通过艺术加工，使点景之物的典型特征加以突出与升华。虽刻意经营，但不见雕琢痕迹，融主体性与趣味性于一体，返朴归真，大巧若拙，大成若缺，这既是对自然物象的高度凝练，也是中国画写意性艺术观在点景中的具体体现。
其次，山水画点景的取舍，不可因取而求多求全。点景虽小，但却有画眼之意，多而全不仅冲淡了主题，也有相互夺目之嫌，如果无节制，无选择地为点景而点景，不仅不利于对山川本质神韵的表现，也脱离了山水画点景典型性的范畴。点景之物带有破结醒目之妙，所谓“万绿丛中一点红，动人春色不须多”，点景之处的单线洗练正是此意。
其三，山水画的点景要有藏有露。露，点景之处物象清晰明了，有醒目之效；藏，点景之处交叉掩映，有含蓄内敛之功。只露不藏，点景之处虽有视觉张力但过于直白；只藏不露，虽可引发视觉联想，但过于隐晦，往往有小家气之嫌。藏露结合，方可张敛有度，常有有变，变中有常，既一目了然，又耐人寻味。使观者产生无限联想，将意境拓展至画外，使露处更加突出，引人注目，使藏处含蓄内敛，变有限为无限。山水画的点景以露为主，以藏为辅，所谓“深山藏古寺”“林下酒旗风”，藏与露的巧妙结合，方可使山水画的点景恰到好处。
其四，山水画点景要与主体协调统一。只有整体的协调，才能利用点景加深对山川本质的提炼。中国山水画的点景，不是刻板机械地再现自然景观，也不是为丰富画面漫无节制地加楼造桥。点景的价值固不在于表现客观中的“真”，也不在于脱离生活、凭空的臆造。完美的点景，应该是客观的“真”与主观的“意”理想化的契合。只有当点景在客观的“真”与主观的“意”的融汇之中，点景才能真正达到既源于生活，又高于生活的境界，而协调与统一则是对点景最基本的制约。
协调与统一包括以下两个方面：
环境与意境的协调与统一，山水画的点景虽有醒目之功，但山川作为主体，环境与意境的创造是有具体限制的，一山有一山的形貌，一地有一地的特点，点景只有融入山川的大环境中，才能与主体融合无间，对意境创造的表达方可有辅助之功。
表现技法的协调与统一。笔墨技法是中国画最基本的表现语言，作为点景在基本技法上的协调性是不言而喻的。主体工整，点景亦应工细；主体简略，点景亦应概括；笔墨恣肆，点景亦应粗放。意无尽而情有作，点景之处自然空灵通透，天真宛然。
其五，点景要强调对比。点景之处强调对比，与协调统一并不矛盾。协调与统一是对整体布局与气韵的制约与把握，对比则是对协调与统一的深化。没有对比的协调与统一，势必是简单化的，尤其是山水画的点景常常是通幅山水画的画眼之处，对比就显得尤为重要。点景的对比，大致包括粗与细的对比，工与放的对比，墨色浓与淡的对比，色彩冷与暖、厚与薄的对比等等，至于对比如何既突出主体，又融合于整体的和谐之中，则既取决于作者个人好恶，更取决于艺术修养了。
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