雨后图
▲李可染1972年作《北国风光》46cm×91cm
李可染，中国近代杰出的画家、诗人，画家齐白石的弟子。李可染自幼即喜绘画，13岁时学画山水。43岁任中央美术学院教授，49岁为变革山水画，行程数万里旅行写生。72岁任中国美术家协会副主席、中国画研究院院长。黄永玉评价李可染，“这个画家是无愧于我们这个苦难的中国的。中国有了他，也光彩许多。”
▲李可染1984年作《清漓帆影图》62cm×92cm
一幅山水画的笔调要统一，一幅画和一曲音乐一样，要有统一的旋律。一种表现方法是一种旋律，或是粗放，或是秀美。
▲李可染《雄关漫道·苍山如海》成交价：RMB-40,825,000北京保利2012秋季拍
一幅画要笼罩着一种气氛，有了气氛画才能活起来。齐白石说：“笔笔相生，笔笔相因，”也是为了一张画的气贯连，气贯连才有力，才能生动。画人并非画跑的人才生动，静止的就不生动，打盹也可以画的很生动，生动就是气要连贯。中国水墨画从来讲究气氛。如说：“山中有龙蛇”，就是贯气，又说“苍茫之气”，“含烟带雨”，“挥毫落纸如云烟”，“试看笔从烟中过”等等，都含有这个意思。山水画中留出适当的空白亦有助于气氛的表现。
▲李可染1963年作《阳朔一景》54cm×65cm
▲李可染1954年作《钱塘江》42cm×49.5cm
▲李可染1954年作《颐和园后湖》
▲李可染1962年作《江南写生》37.5cm×44cm
▲李可染1965年作《苍山如海残阳如血》49cm×69cm
▲李可染1972年作《阳朔胜境图》211cm×384cm
▲李可染1973年作《清漓帆影》
▲李可染1974年作《韶山革命圣地毛主席故居》141.5cm×243cm 1亿2420万元成交
▲李可染1977年作《清漓胜境图》
▲李可染1978年作《杏花春雨江南》
▲李可染1980年作《漓江天下景》
▲李可染1982年作《百重泉》109.6cm×60.2cm
▲李可染1982年作《千岩万壑》
▲李可染1986年作《峡江轻舟图》
▲李可染1987年作《漓江山水》
▲李可染1987年作《秋色》
▲李可染1987年作《烟江夕照图》33.6×103.3厘米
▲李可染1988年作《千岩竞秀·万壑藏云》成交价：RMB-32,775,000北京保利2012秋季拍
▲李可染《革命摇篮井岗山》75cm×94cm
▲李可染《江南水乡》
▲李可染《密林深处》41cm×36cm
▲李可染《渔村》
▲李可染《圆通寺》
▲李可染1942年作《观瀑图》127cm×55.5cm
▲李可染1956年作《鲁迅故乡绍兴城》
▲李可染1959年作《漓江边上》水墨设色纸本59.5cm×44cm北京画院藏
▲李可染1959年作《桂林铁封山雨》
▲李可染1961年作《杏花春雨江南》64cm×45cm
▲李可染1962年作《春雨江南》68cm×44cm
▲李可染1962年作《陡壑夕阳》
▲李可染1962年作《纳凉图》成交价：RMB-3,680,000
▲李可染1962年作《清漓渔船图》
▲李可染1962年作《雁岩一景》
▲李可染1963年作《丹霞枫林》69.8cm×46cm
▲李可染1963年作《黄山烟霞》
▲李可染1963年作《漓江纪游》RMB 9,315,000北京保利2012春拍
▲李可染1963年作《万山红遍层林尽染②》中国美术馆收藏
▲李可染1963年作《闲夏》50cm×45.5cm
▲李可染1963年作《月牙山图》
▲李可染1964年作《万山红遍⑥》131cm×84cm RMB 293,250,000北京保利2012春拍
▲李可染1964年作《万山红遍⑤》纸本设色 135cm×85cm 北京画院藏
▲李可染1965年作《漓江雨中泛舟图》
▲李可染1972年作《井岗山》成交价：8412万港元香港佳士得2013年秋拍
▲李可染1972年作《阳朔碧莲峰》66cm×43cm
▲李可染1973年作《花果山》
▲李可染1973年作《江山览胜图》
▲李可染1973年作《雁荡山图》85cm×54cm
▲李可染1975年作《井岗山主峰图》124cm×69cm
▲李可染1976年作《漓江胜境图》
▲李可染1977年作《水晶宫》
▲李可染1977年作《岩泉积翠》
▲李可染1977年作《雨中漓江》纸本设色 71.2cm×47.8cm家属藏
▲李可染1978年作《长征》180cm×95cm
▲李可染1978年作《黄山纪游图》
▲李可染1979年作《九华烟云图》
▲李可染1979年作《漓江山水》
▲李可染1979年作《清漓渔歌》
▲李可染1982年作《赏心喜看雨余山》成交价：RMB 3,335,000
▲李可染1983年作《苍岩双瀑图》68cm×45.5cm
▲李可染1984年作《苍茫烟江夕照中》纸本设色立轴82cm×50cm
▲李可染1984年作《雨势骤晴瀑泉喧》67.5cm×45cm
▲李可染1985年作《家住崇山茂林》
▲李可染1986年作《翠溪人家》137cm×68cm
▲李可染1987年作《暮雨初收》
▲李可染1988年作《密林烟树》
▲李可染1988年作《水边人家》84.2cm×52.6cm
▲李可染1988年作《雨后图》
▲李可染1988年作《欲雨欲晴》
▲李可染1989年作《山水》
▲李可染《桥亭听瀑》
▲李可染《人在万点梅花中》69cm×46cm
▲李可染《山村飞瀑图》
▲李可染《山居图》
▲李可染《山水》
▲李可染《蜀山春雨》
▲李可染《蜀山春雨图》RMB 7,360,000北京保利2012春拍
▲李可染《巫山云图》
▲李可染《消夏图》
▲李可染《杏花春雨江南》
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茹程贞1284((雨后池上))中的景物构成了怎样的意境?表现了诗人怎样的情感? -
荣典所19435389312 ______[答案] 是一幅雨后池塘春景图,反映了作者雨后静观自然的怡然心态.
茹程贞1284诗题为《雨后池上》,那么,诗中从哪些方面表现了“雨后”二字? -
荣典所19435389312 ______[答案] 既写出了静态,又写出了动态,以静显动,又以动衬静,动静结合,组成了一幅雨后池塘春景图. 前两句写雨后池塘水面的平静,只淡淡地出一“平”字,紧接着以“淡磨”境界顿出.展示的是雨后池上春景的静态美. 后两句用“忽起”、“垂杨舞”及...
茹程贞1284雨后池上 古诗鉴赏 诗中描写的景物有啥特征?表现了诗人的那样情感 -
荣典所19435389312 ______[答案] 1.水面如同轻轻磨过的明镜一样,倒映 出池塘边的房檐和槛柱,以此表现雨后池塘水面的平静. 2.诗中描画了一幅雨后池塘图.诗既写出了静态,又写出了动态,以静显动,又以动衬静,动静结合,组成了一幅雨后池塘春景图. 前二句着眼于“静”,...
茹程贞1284可以把一对姐弟淋雨后回家洗澡的动图发来嘛?谢谢 -
荣典所19435389312 ______ 那是个动漫图,我看过但是几年前得了,不在了
茹程贞1284...赏析不当的一项是A.该诗是王维隐居生活中的一个篇章,主要内容是“言志”,表达诗人希望继续自己的隐居生活、远离尘俗的愿望.B.诗作勾画出一幅雨后... -
荣典所19435389312 ______[答案] 答案C 主旨句是诗的末句:王孙自可留.
茹程贞1284诗题为《雨后池上》,那么,诗中从哪些方面表现了“雨后”二字? -
荣典所19435389312 ______ 既写出了静态,又写出了动态,以静显动,又以动衬静,动静结合,组成了一幅雨后池塘春景图.前两句写雨后池塘水面的平静,只淡淡地出一“平”字,紧接着以“淡磨”境界顿出.展示的是雨后池上春景的静态美.后两句用“忽起”、“垂杨舞”及垂杨叶上的雨滴被风吹到荷叶上发出的“万点”声响等,表现了雨后池上的一种动态之美.
茹程贞1284俗话说“坐井观天,所见甚小”是指枯井中的青蛙视野有限.但是,雨后井满,青蛙的位置不变、视野范围却发生了变化,请分别画出图中青蛙雨前、雨后观天... -
荣典所19435389312 ______[答案] (a)图中P点是青蛙的位置,将P点与井口左边的端点相连成一直线,将P点与井口右边的端点相连成一直线,然后在直线上标出箭头,即得到两条射向青蛙眼睛的光线,这两条光线就决定了青蛙的观察范围. (b)当井里灌满水后,光线照到水面会发...
茹程贞1284散文《雨后》彭艺林 -
荣典所19435389312 ______ 雨后 彭艺林 雨的前面是乌云,雨的后面是眼睛. 雨后,眼睛里的山川、林木以及光芒都非常的饱满和透彻, 如同天使的眼睛,又或者是我的眼睛和心灵变得像天使一样. 但当我在楼上仰头,远处的乌云翻滚,积压我的头顶, 仿佛只须我伸一...
茹程贞1284冰心的《雨后》全文 -
荣典所19435389312 ______ 冰心《雨后》 嫩绿的树梢闪着金光, 广场上成了一片海洋! 水里一群赤脚的孩子, 快乐得好像神仙一样. 小哥哥使劲地踩着水, 把水花儿溅起多高. 他喊:“妹,小心,滑!” 说着自己就滑了一交! 他拍拍水淋淋的泥裤子, 嘴里说:“糟...