给学生讲传统山水的空间关系，干脆现做一张对照图。水墨这类最忌把每处都画满，我第一版柳条、石桥、农人全交代得清清楚楚，看着就是幅插画不是水墨。改法很简单：把远景推进雨雾里，只留石桥的拱形和柳条的垂线两条清楚的形，其余交给留白，气就通了。青瓷加玉色这个色系比纯灰墨更有春意。
A serene ink wash painting of Qingming Festival scenery, traditional Chinese landscape composition, 16:9 panoramic view.
Misty spring drizzle softly diffuses the light over a tranquil riverside. Weeping willows hang gracefully by the water, tender green leaves swaying, their long strands reading as clear vertical lines against the mist. An ancient stone bridge arches elegantly across the river, its reflection rippling and broken on the surface. Farmers in bamboo hats tend their work beneath the drizzle, rendered in a few economical strokes so they blend into the surroundings rather than draw the eye.
Depth: near bank with defined brushwork, middle ground half dissolved in vapour, far hills only faint washes; generous negative space in the upper third.
Brushwork: wet ink with visible bleeding on rice paper, dry-brush accents on the bridge stones and tree trunks, no hard outlines.
Palette: celadon and jade tones with pale ink greys, calm yet full of vitality.
Lighting: soft and diffused, no direct sun, moisture in the air.
Mood: peaceful, timeless, early spring stillness.
负面词我压了两个方向：满构图、以及硬边描线。