一山飞峙大江边,跃上葱茏四百旋。冷眼向洋看世界,热风吹雨洒江天。云横九派浮黄鹤,浪下三吴起白烟。陶令不知何处去,桃花源里可耕田?这是毛泽东所作诗词《七律登庐山》,书画家王来胜用它作为以陶渊明《桃花源记》为题材所作山水画的题款。这幅画中,远山在雾气中隐现,成片桃花林的围绕之下,山石、小溪的近景显得安逸。通过笔墨、笔法的变化和构图布局,这幅山水画呈现远处缥缈、近景清晰的层次,好像深山中一处不为人知的桃花源。王来胜的山水画,有的带着田园气 A hill Fei Zhi big river, leap onyx four hundred spin. Cold look at the ocean to the world, hot air blowing rain sprinkle Jiang days. Clouds cross nine faction yellow crane, wave under the three Wu white smoke. This is Mao Zedong’s poem “Seven Liluden Lushan”, calligrapher Wang Lai-Sheng used it as Tao Yuanming’s “Peach Blossom Spring” as the subject of landscape painting inscriptions. In this picture, the distant mountains are lurking in the mist, surrounded by peach trees, and the close-ups of rocks and streams look comfortable. Through the variation of ink and brush, brushwork and composition and layout, the landscape painting shows a distant distance and a clear picture of the distant scenery, like an unknown peach blossom source in the mountains. Wang Sheng landscape painting, and some with pastoral atmosphere