《仿米云山图》扇页，明，李流芳绘，金笺，墨笔，纵17.7cm，横54cm。

　　扇页有自题：“丁卯秋日仿米家山。李流芳。”钤“李流芳印”白文印。

　　此图与故宫藏李氏《山水图》扇页绘于同一年，即明天启七年（1627年）。它是李氏晚年仿宋代米芾、米友仁“墨戏法”绘制的烟雨变幻山水图。扇面中的远山运用“落茄皴”（即“米点皴”）点染，饱含水分的墨笔横点，点点相叠，积染成形，不仅增强了画面的水气迷蒙感，丰富了山峦的远近层次，同时也表现出群山于苍茫中的雄伟气势。近景的树木亦以墨气淋漓的卧笔横点，灵动的墨点既各自独立又彼此联结成片，它们以不求形似的笔墨，表现出的是“数树新开翠影齐，倚风情态被春迷”的诗意。

 

--------Introduction in English--------

 

Fan Page of Imitated Miyunshan Picture, Ming, Li Liufang Painting, Golden Paper, Ink, 17.7cm in length and 54cm in breadth.

The fan page has its own title: "Ding Mao imitates Mijiashan in autumn. Li Liufang." Jun "Li Liufang Seal" in white.

This picture is drawn in the same year as the fan page of Li's Landscape Map in the Palace Museum, that is, the seventh year of the opening of tomorrow (1627). It is Li's later years imitating the Song Dynasty Mifu, Mi Youren "ink trick" to draw the changeable landscape map of smoke and rain. The distant hills in the fan face are dotted with "falling eggplant chaff" (i.e. "rice chaff") and filled with water. The ink points overlap with each other. The accumulated dyeing not only enhances the water and gas haze of the picture, enriches the distant and near levels of the mountains, but also shows the magnificent momentum of mountains in the vast. Close-range trees also use ink-dripping horizontal pen dots. Smart ink dots are independent and linked to each other. They use non-shape-like pen and ink, showing the poetic flavor of "a number of trees are newly opened and shadowed, depending on the style of spring fans".