世上曾有齐白石，余墨尚存人世间。
若问余墨哪里求，白石山堂少白处！
白石山堂是中国齐白石书画院全资子公司,全权负责齐白石文创、齐白石风尚等品牌的创立与发展致力于对齐白石书画、艺术、篆刻鉴定及拍卖等资产进行内容挖掘、体系梳理、产业推动、业态创新、价值观重现等工作的重要内容，是打造基于齐白石文化艺术的产品创新平台的重要环节。
各位藏友大家好，今天我们有请时任齐白石传人、齐良芷弟子、中国齐白石书画院院长、清华美院客座教授、网易集团官方形象代言人、特邀教研主任、北京画院及荣宝斋签约画家，齐白石书画大数据鉴定专家、上海齐白石艺术研究会会长、白石山堂文化传媒的首席运营官-汤发周先生曾这样说道：这一期的主题展览为“山水之乐——走进齐白石的山水世界”，下面就请跟随小编一起云看展吧！
纵观齐白石一生的艺术创作，以大写意花鸟画为主。相较之下，他的山水画却一度不被人理解。这使得齐白石的山水多为真正理解自己艺术的知己所做，也是导致今天齐白石的山水画体量较少的主要原因。但恰恰是这些山水画最能显现齐白石艺术的独创性与革新性。
此次线上展览“山水之乐——走进齐白石的山水世界”将汇聚齐白石一生中最重要的山水作品：早年为友人绘制的《石门二十四景》；“五出五归”后，将写生实景转化而成的《借山图册》；被称为全球最贵中国艺术品的齐白石晚年山水巨制——《山水十二条屏》。通过“家乡”、“远游”、“思乡”三大主题板块梳理齐白石山水画的发展，带您感受白石老人心中的山水世界。
齐白石出生于湖南湘潭一个农民家庭，因其体弱不适宜务农，转而从事雕花木工。1882年，还是雕花木匠的齐白石从一套残缺不全的《芥子园画谱》中获得了最初对中国传统绘画的启蒙。早年齐白石多活动于家乡湘潭一带，所以山水画作多以表现湘潭本地实景风光为题，不过笔墨构图多受晚清流行的“四王”程式化影响。
君家书法笔如椽， 衣钵阿翁旧有传。
日洗砚池挥宿墨， 好从井裏悟云烟。
齐白石 石门二十四景图-龙井涤砚图1910
纸本设色 34cmx45.3cm
辽宁省博物馆
据齐白石在自述中回忆，远游归来后，好友胡廉石把石门附近的景色请王仲言拟成了二十四个题目，请他绘制《石门二十四景》。齐白石精心构思，煞费苦心，数次易稿，费时三个多月终于画成。
提壶独上石门宽， 不散云阴暑亦寒。
睡足忘归思伴醉， 隔三千裏唤陈传。
齐白石 石门二十四景图-石门卧云图1910
纸本设色 34cmx45.3cm
辽宁省博物馆
画作名称与题跋“提壶独上石门宽”中的“石门”指的便是齐白石家乡湖南湘潭的石门岭。石门岭因山腰处像一座石门而得名。山间云雾缭绕，风景甚好，即使是夏天也十分凉爽，令白石老人流连忘返。
仰观万丈落儒冠， 一线欲无云际寒。
不见木鸢天上去， 诸君尘世未曾看。
齐白石 石门二十四景图-春坞纸鸢图1910
纸本设色 34cmx45.3cm
辽宁省博物馆
音乖百转黄鹂鸣， 斗酒双柑老屋晴。
笑我买山真僻地， 十年不听子规声。
齐白石 石门二十四景图-老屋听鹂图1910
纸本设色 34cmx45.3cm
辽宁省博物馆
齐白石此时的山水画并未完全摆脱《芥子园画谱》束缚，图式与笔墨皴法也受“四王”影响，所以齐白石早期的山水画未能确立自己的风格。但此套册页相较之前的作品已更增添了灵动性。
清池河底羡鱼行， 巨口细鳞足可烹。
此日读书三万卷， 不如熟读养鱼经。
齐白石 石门二十四景图-藕池观鱼图1910
纸本设色 34cmx45.3cm
辽宁省博物馆
堕马扬鞭各把持， 也曾嬉戏少年时。
如今赢得人夸誉， 沦落长安老画师。
齐白石 石门二十四景图-松山竹马图1910
纸本设色 34cmx45.3cm
辽宁省博物馆
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齐白石40岁时收到好友郭葆生的来信，信中称：“无论作诗作文，或作画刻印，均须于游历中求进境，作画尤应多游历，实地考察方能得其中之真谛……”
齐白石 借山图册（二十二开）-桃花源借山图
纸本设色 34.5cmx45.5cm
于是，1902年至1909年齐白石进行了为时7年的远游，期间先后游历了陕西、湖北、河南、河北、北京、天津、上海、江苏、江西、广西、广东、香港等地，相继出了五趟远门，这就是《齐白石自传》里的“五出五归”和《齐白石年谱》里的游“六大处”佳山水。
齐白石借山图册（二十二开）-竹霞洞借山图
纸本设色 34.5cmx45.5cm
《借山图册》便是基于远游写生的代表之作。
为何借山？
1900年，齐白石添盖了一间书房，取名“借山吟馆”。这也许是“借山”一词最初来源。友人问，为什么取“借山”两字呢？齐白石笑说：“山不是我所有，我不过借来娱目而已。”
齐白石借山图册（二十二开）-洞庭君山借山图
纸本设色 34.5cmx45.5cm
《洞庭君山借山图》构图极为简洁，中景为君山岛，近处一艘帆船，远处一轮红日从云层中喷薄而出，大面积的空白，更显湖水辽阔之感，留给观者无限的想象空间。
齐白石借山图册（二十二开）-滕王阁借山图
纸本设色 34.5cmx45.5cm
唐代诗人王勃曾吟出“落霞与孤鹜齐飞，秋水共长天一色”的千古名句来赞美滕王阁。这幅齐白石笔下的《滕王阁借山图》可以说是他绘画中最为险峻的画面。楼宇的屋脊铺落于画的前景。连绵的群山布满远方。堤岸坐落在似湖、似水、似烟岚的大片空白之中。人文景观与自然风物相互依偎在一起，给人一种奇妙的感受。
齐白石借山图册（二十二开）-秋水鸬鹚借山图
纸本设色 34.5cmx45.5cm
1902年到1909年齐白石“五出五归”期间创作的《借山图册》，原有52幅，现北京画院作为馆藏重器藏存22幅，其余不知所终。此《借山图册》为“北京际华春秋”2010年秋季拍卖会齐白石《借山图册》专场展出的作品，在风格、技法上更加成熟泼辣，与北京画院藏存的作品相比，略有构图笔墨的变化，带有再创造的性质。
齐白石借山图册（二十二开）-清江山居借山图
纸本设色 34.5cmx45.5cm
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齐白石 山水十二条屏1925
纸本设色 181cm x 47cm
晚年时，客居北京的齐白石却愈发怀念家乡惬意的田园生活，这一时期所作的山水画多是远游时期写生稿与记忆中家乡景色的融合，画中也常漾起思乡情怀。又因白石老人钟爱桂林的山，曾有诗言：“自有心胸甲天下，老夫看惯桂林山。曾经阳羡好山无，峦倒峰斜势欲扶。”所以在其晚年的山水画中山体多是借鉴桂林山，再结合对家乡的记忆，创作出一幅幅既真实又虚幻的“家乡”之景。
齐白石山水十二条屏-江上人家1925
纸本设色 181cm x 47cm
齐白石山水十二条屏-石岩双影1925
纸本设色 181cm x 47cm
齐白石山水十二条屏-板桥孤帆1925
纸本设色 181cm x 47cm
此次展出的《山水十二条屏》在北京保利2017年秋拍上以9.315亿元（加佣金）成交，成为目前全球最贵的中国艺术品。当把它们置于一处，便可以完整地呈现出齐白石笔下的美好家园情景——长天落日、桂林山水、浮萍山影、小桥流水，浓郁的东方家园情愫扑面而来。存世的《山水十二条屏》仅有两套，另一套现收藏在重庆中国三峡博物馆。
齐白石山水十二条屏-柏树森森1925
纸本设色 181cm x 47cm
齐白石山水十二条屏-远岸余霞1925
纸本设色 181cm x 47cm
齐白石山水十二条屏-松树白屋1925
纸本设色 181cm x 47cm
此《山水十二条屏》创作于1925年，那一年齐白石62岁，正是他“衰年变法”、到老年改变绘画风格的第四个年头。他抛却此前中国山水的程式，进入“一洗凡尘万事空”的真山真水创作境界。
这件作品便几乎囊括了齐白石所有山水画题材。而且，每屏上均题有自作诗，钤盖齐白石常用印章，“诗书画印”四绝俱全，堪称其对山水创作升华后的集大成者。
齐白石山水十二条屏-杉树楼台1925
纸本设色 181cm x 47cm
齐白石山水十二条屏-烟深帆影1925
纸本设色 181cm x 47cm
齐白石山水十二条屏-山中春雨1925
纸本设色 181cm x 47cm
白石老人生活的年代，交通不便，主要靠坐船出游。在从前车马慢的日子里，却正好可以静下心来，欣赏沿途的景色，观察市井日常。随着当今社会的高速发展，科技拉近了人与人、地与地的实际距离，齐白石历时七年的“五出五归”或许几日便可完成，然而这样的快节奏却经常使我们忽略了沿途的美景。
在岁月更迭中，齐白石当年走过的乡间小路也或许早已不复存在。我们虽然无法重走他走过的路，但通过展览中各阶段的山水画作品，却可以一路欣赏齐白石曾经看过的风景，感受这“山水之乐”。
齐白石山水十二条屏-杏花草堂1925
纸本设色 181cm x 47cm
齐白石山水十二条屏-红树白泉 1925
纸本设色 181cm x 47cm
齐白石山水十二条屏-板塘荷香1925
纸本设色 181cm x 47cm
（未完待续）收藏书画，就找“白石传人”的齐白石书画院，版权所有，现场创作，齐白石画派，百年传承，一脉相传，只做真迹书画，集聚众家之长，现场创作，可根据藏家要求定制字画，可合影!常年售收高端书画，寻找合作高端书画经纪人、合伙人、大区负责人，主要运作齐白石生前的同款画画毛笔、齐白石画虾专用宣纸、齐白石墨块、齐白石自制颜料配方、齐白石画工笔草虫秘法、齐白石小女齐良芷藏父亲齐白石书画遗作真迹展及齐白石小女齐良芷自藏书画名家专场拍卖、齐白石传人、中国齐白石书画院院长汤发周致敬齐白石诞辰160周年重现齐白石笔下的微观世界书画展等项目，还有运作齐白石、齐良芷、齐良迟、齐良末、齐秉颐、齐景山、齐秉正、齐展仪，齐慧娟、李可染、李苦禅、娄师白、郭秀仪、王森然、王雪涛、卢光照、王漱石、汤发周等齐白石传人价值百千万以上的书画、印章真迹作品，亦可接受NFT、数字藏品、元宇宙等操作，欢迎有实力的网络公司竞标。（图文选自：齐白石传人书画网）
（本文图片素材选自：齐良芷眼中的齐白石、齐白石书画院、齐白石传人书画网）
注：以上图文节选自讲座《少白公子趣说齐白石》 主讲人：汤发周
癸卯年 【兔年】编撰于华东上海齐白石书画院（上海浦东总院）
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浦伦苛4499《岳阳楼记》先天下之忧而忧,后天下之乐而乐中的“乐”,与《醉翁亭记》“山水之乐”的“乐”区别 -
窦南泻13211199428 ______[答案] 前者的乐代表天下人的享福快乐.前者的全句“先天下之忧而忧,后天下之乐而乐”之意也是在天下人忧愁之前就忧愁,在天下人享福之后才享福.是体现了一种为天下人谋福利,吃苦在前,享受在后的精神. 后者是因为景色的不断变化,作者感到山水...
浦伦苛4499醉翁亭记中,写山水之乐是如何体现作者与民同乐的思想的? -
窦南泻13211199428 ______[答案] 文章先写滁人之游,描绘出一幅太平祥和的游乐图,在这幅图画中,有“负者”,有“行者”,有老人,有小孩,前呼后应,往来不绝,十分热闹,这个场景在太守眼里,应更多了一层政治清明的意味,写宴饮之乐,宴饮所需,无论是酒还是鱼,是...
浦伦苛4499醉翁亭记中得之于心的山水之乐具体指的是哪些方面 -
窦南泻13211199428 ______ 山间四时朝暮之美;滁州人民安居乐业,游山玩水;众宾欢宴之乐;禽鸟自由之乐;太守与民同乐;
浦伦苛4499醉翁亭记第二段中哪个句子把山水之乐具体化了 -
窦南泻13211199428 ______[答案] 朝而往,暮而归,四时之景不同,而乐亦无穷也.
浦伦苛4499醉翁之意不在酒,(请填写).山水之乐,( ).欧阳修《醉翁亭记》 -
窦南泻13211199428 ______[答案] 醉翁之意不在酒,(在乎山水之间也).山水之乐,(得之心而寓之酒也).
浦伦苛4499山水之乐的乐的意思 -
窦南泻13211199428 ______ 乐趣
浦伦苛4499翻译下列句子(1)山水之乐,得之心而寓之酒也.____________________________________________________ - 翻译下列句子(1)山水之乐,得之心... -
窦南泻13211199428 ______[答案] (1)欣赏山水的乐趣,领会在心里,寄托在喝酒上. (2)早晨进山,晚上回城,四季的景色不同,而快乐也是无穷无尽的.
浦伦苛4499 翻译 山水之乐,得之心而寓之酒也. 译文:_______________________________________________ - -
窦南泻13211199428 ______[答案] 欣赏山水的乐趣,领会在心里,寄托在喝酒上.
浦伦苛4499 怎样理解《醉翁亭记》中的“醉”和“乐”?它们之间是什么关系? -
窦南泻13211199428 ______[答案] 答案:“醉”字是中心,表现作者因政治上受排挤,淋漓尽致地表现了作者抑郁的情怀,蕴含了全文的主旨.“乐”是线索,文章因乐生景,因乐抒情.写山水之乐,是表现作者谪官滁州后,寄情山水,排遣愁怀的生活态度;写游人之乐,是为了侧...
浦伦苛4499山水之乐 得之心而寓之酒也的意思 -
窦南泻13211199428 ______[答案] 欣赏山水的乐趣,体会于心,寄托于酒. 请采纳答案,支持我一下.