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       飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身误会，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，终末用小弹弓弹墨花于其上，如宋东说念主弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润澳门银河现金网，颇似李山风雪杉松图卷。

       李成（919—967）擅画华北之山水，尤以风景荒废荒寒之寒林最具特点。继之有郭熙（行径于十一生纪后半叶）握续发展，迟缓变成「李郭」一系之山水画派，寒林图也成为宋代（960—1279）至极流行之题材。在宋代尚由文同（1018--1079）、苏东坡（1036--1101）等东说念主之发展，至元代变成“古木竹石”之新题材。本幅画松及古木，不但强调瘿瘤累累，还一再叠加枝势折转之模样。比拟宋东说念主乔木图，本幅画树枝之折转模样更趋向于步地化。此画风约在南宋（1127—1279）的中、晚期，与马夏派系强调翰墨之趣有异途同归之妙。画枝干之模样，如施展写书道之用笔，画家在面目真确之形象，与推崇超脱之翰墨，两者之间，实以较偏重后者。枝桠间尚可见好多墨点，是在写枝干、树叶之余，墨韵犹有不及之感 再以弹墨法握笔在小弓之弦敲弹，使墨点喷洒在画上，变成点、线、面更丰富的变化。

这些从古至今流传的“神童”们，他们的故事耳熟能详，也向我们预示了那句老话，三岁看小，七岁看老。

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