庐山手绘资料 沙沛 陈红卫 余工
2011庐山手绘特训营大课堂总课表
小广场景观设计表现（带平面图） 小广场景观设计表现 （ 带平面图 ）
滨水景观马克笔表现（带平面） 滨水景观马克笔表现 （ 带平面 ） 卧室空间马克笔快速设计与表现（带平面） 卧室空间马克笔快速设计与表现 （ 带平面 ） 单身公寓快速方案设计与表现 酒吧空间快速方案设计与表现 艺术家别墅创意方案设计竞赛 艺术家别墅创意方案设计竞赛 豪华别墅设计实战训练 豪华别墅设计实战训练 余工设计营销 豪华别墅庭院景观规划设计实战训练 设计思维模式分析与应用 建筑细节写生（门窗、瓦面） 建筑细节写生 （ 门窗 、 瓦面 ） 风景写生与构图技巧
30欧洲建筑细节磨笔不同钢笔线条的运用精细蒙图欧洲建筑细节精细蒙图欧洲建筑细节精细蒙图欧洲建筑细节精细蒙图欧洲建筑细节杨健作品欣赏欧洲别墅建筑磨笔精细蒙图欧洲别墅建筑精细蒙图欧洲别墅建筑精细蒙图欧洲别墅建筑精细蒙图欧洲别墅建筑精细蒙图欧洲别墅建筑精细蒙图欧洲别墅建筑课程解说一钢笔线稿临写沙发单体透视表现沙发组合钢笔透视表现陈设配饰沙发床单体透视训练沙发床多角度空间思维训练沙发床多角度空间思维训练手绘创意思维大冲击尚龙勇作品欣赏钢笔线稿临写一点透视原理以及经验作图法则尺规客厅一点透视画法尺规客厅一点透视画法尺规景观小品一点透视透视训练尺规景观小品一点透视透视训练手绘创意思维大冲击景观植物画法详解沙发床单体钢笔表现一点斜透视原理尺规卧室空间一点斜透视画尺规景观山石钢笔表现景观山石钢笔表现景观人物钢笔表现手绘创意思维大冲击陈红卫作品欣赏陈红卫客厅一点透视表现陈红卫景观植物钢笔表现两点透视原理尺规公共建筑透视画法尺规公共建筑透视画法尺规办公空间两点透视画法尺规办公空间两点透视画法尺规手绘创意思维大冲击人生艺术哲学二沙发组合钢笔表现尺规景观建筑配景画法与构图法则室内植物钢配景笔表现不同景观植物钢笔表现尺规不同景观植物钢笔表现不同景观植物钢笔表现手绘创意思维大冲击娄小云留学作品欣赏秦玉龙产品设计快速设计表现秦玉龙沙发组合钢笔表现尺规精细别墅客厅钢笔表现尺规精细别墅客厅钢笔表现尺规陈红卫精细景观小品钢笔表现精细景观小品钢笔表现精细景观小品钢笔表现陈红卫手绘创意思维大冲击刀刀漫画作品欣赏慕容引刀漫画创作与表现慕容引刀星期天景观山石钢笔表现尺规别墅建筑精细钢笔表现尺规别墅建筑精细钢笔表现尺规手绘创意思维大冲击建筑水彩作品欣赏线稿透视精细钢笔表现开营典礼冲出亚马逊景观植物钢笔表现尺规精细写实空间钢笔表现尺规精细写实空间钢笔表现尺规李明精细写实空间钢笔表现尺规精细写实空间钢笔表现尺规精细写实空间钢笔表现手绘创意思维大冲击设计色彩搭配与空间色彩光影关系客厅空间钢笔表现尺规马克笔用笔与基本技法讲解沙发单体马克笔表现技法床单体马克笔表现技法床单体马克笔表现技法马克笔山石表现技法手绘创意思维大冲击服装创意设计景观小品钢笔表现尺规马克笔室内植物表现技法马克笔室内植物表现技法陈红卫马克笔景观植物表现技法乔木马克笔景观植物表现技法灌木马克笔山石表现技法棕榈陈红卫手绘创意思维大冲击陈设配饰马克笔表现别墅建筑钢笔表现尺规室内材质灯光表现技法玻璃大理石木
吴冠中经典油画作品《庐山》（佳士得及苏富比）高清详解
吴冠中经典油画作品《庐山》（佳士得及苏富比）高清详解吴冠中庐山 THE LU MOUNTAINS 香港佳士得2016.11 成交价2854万港元佳士得专文am absolutely not satisfied with just the visually pleasing effects of pure form. I love the conceptions that inform paintings. But these conceptions are connected with formal beauty, and must first be realized in terms of form before they can be ex-pressed. At the heart of my career as an artist is using mypainter's eye to discover the conception associated with an image.- Wu Guanzhong, 'On Oil Painting, Bitter and Sweet'In 1936, Wu Guanzhong entered the National Academy of Art in Hangzhou founded by Lin Fengmian, initially studying oil painting under Chang Shuhong, and thereafter learning Chinese traditional painting from Pan Tianshou. In 1947, after excelling in examination, he was admitted to government-funded study in France, where he entered the École nationale des beaux-arts for a three-year course of study. There, he gained a deep understanding of the essence of Western modern art, such as Impressionist colours, post- Impressionist visuality, Fauvist complete unleash of freedom, Cubist new form of ex-pression. Upon his return to China, Wu Guanzhong embarked upon an inspirational fusion of Chinese traditional and Western modern art to create a third way, by employing ink and paper as its carrier, at the same time combining with concepts in Western modern art. In particular, Wu made breakthrough innovation to concepts and techniques and renewed visual language in terms of composition and structure, brushstroke and coloration. In this way, he inherited from and further developed Chinese ink painting, and thereby inaugurated a new era.吴冠中庐山 THE LU MOUNTAINS 局部细节Under the political circumstances prevailing in China during the Cultural Revolution, Wu Guanzhong ended up being 'sent down' to the countryside several times for 'reform through labour.' That, however, did not dampen his fervent pursuit of painting, but served instead to focus his attention even more strongly on landscape-themed works. During the hours he spent at farm labour, he came to the realization that any interpretation of beauty must be sought in nature, and further, that one's own thoughts and feelings must become part of the scenes depicted — a realization that helped produce many successful works. TheLu Mountains (Lot 2504), dating from 1974, is Wu Guanzhong's most representative work from the 1970s, when his work in the oil medium was at its peak. In it Wu finds a precise balance between realism and a more freestyle (or xieyi) approach. The work is filled with freestyle brushwork of great abstract beauty, along with bold, solid lines that find a complement in others less distinct. Combined with these is the natural flavour of Wu's simple, earthy colours, while the structural relationships between his colours and lines produces the finely managed sense of space and depth in The Lu Mountains.In The Lu Mountains, Wu Guanzhong boldly chooses to make trees and branches a dominating presence in the foreground of the work. These he sets out in strong, distinctive, and vivid brushwork, using horizontal strokes to create texture in the tree trunks, while the fine lines of slimmer branches are etched out of the pigment on the canvas. Wu's composition allows viewers to imaginatively enter into the scene, touching their feelings with the sense of glimpsing beautiful scenes in the distance through the branches. This double presentation of close-up branches with more distant vistas adds a wealth of poetic energy to this otherwise realistic scenic presentation. A shift in our viewpoint occurs as our eyes moves from the close foreground toward the white buildings and red-tile roofs in the valley, and then further on to the grand rise of the mountain peak in the distance. The artist guides us as we roam through the landscape: here there are mountain paths to walk, distant peaks at which to gaze, and homes in which to live. Song Dynasty painter Guo Xi once spoke of paintings in which 'there are landscapes with places to walk, vistas to gaze at, paths to roam, and houses in which to live,' and Wu Guanzhong here offers a fresh new interpretation of that view.吴冠中庐山 THE LU MOUNTAINS 局部细节The pictorial space of The Lu Mountains is dominated by Wu's strong, ex-pressive lines, somewhere between freestyle abstraction and naturalistic realism, which call to mind the decorative screens produced by Japanese artist Ogata Korin (Fig.1) or the highly stylized landscape paintings of Gustav Klimt (Fig.2). Korin eliminated any background in order to highlight his shapes and forms and the appeal of his subject; Klimt, on the other hand, provides a profusion of detail with multitudes ofrepeated points and lines. Wu Guanzhong's ex-pressive approach is more elegant in its easy, effortless, yet reserved manner, and in this painting, which is lucid and understandable yet invested with deep feeling, he finds magnificent beauty in the ordinary. His brushwork is free and varied but never dense or complicated in the least, and his accurate depiction of the relative sizes, heights, and distances of objects allows the painting to exude a sense of precisely ordered beauty. The ex-pression of rich detail without losing sight of the overarching order bespeaks a certain kind of aesthetic and a mature technique, closely linked to the aesthetic traditions behind Chinese landscape paintings and the grand sweep of their conceptions.Beyond its finely managed composition, The Lu Mountains also features rich colour and meticulous layering. In the trees and mountains, Wu employs alternating areas of cool and warm tones in pigments which have the same kind of bright, saturated colours and earthy textures seen in natural minerals. From the broad perspective of art history, the jumbled blocks of colours in The Lu Mountains could perhaps be seen as inspired by Cezanne, though Wu moves beyond the purely formal beauty of Cezanne's work. Cezanne simplified and then reconstructed his scenery, emphasizing vertical and horizontal spatial extension in tightly structured compositions that can seem slightly confined (Fig. 3). Wu Guanzhong, however, by means of brushstrokes and colours that vary from dense to diffuse, ex-presses depth, distance, and openness within the flat spatial structure of the canvas. He injects a natural, intuitive sensibility into the work, and his feel for the resilient life force of the land conveys its flourishing vitality to the viewer. Wu Guanzhong surmounts the restrictions of the flat canvas through his precise grasp of line, colour, and structure,and in each minute area of the painting we find spaces where the imagination can roam. His brushstrokes in oil seem to possess a concentrated power that adds body and life, making real the relationships between scenic objects, as if there were another hidden dimension beyond his flat canvas. Brushstrokes are vivid and lifelike, and small touches of abstract beauty can be found within larger areas of figurative depiction. But these smaller sections carry traces that suggest the whole, while the whole exists in an overall unity within each of its parts. Wu Guanzhong thus reaches the highest summit of this kind of freestyle aesthetic, echoing the English poet William Blake's famous line about imagination: 'to see the world in a grain of sand, and heaven in a wildflower.' The Lu Mountains reflects Wu Guanzhong's marvellous ability to find an image encompassing all of nature within some corner of its scenery, unrestricted by the size of his canvas. The Lu Mountains further reveals both his deep insights, and his ability to realize those insights in exciting ways, in terms of the mutual relationships between freestyle aesthetics and the shaping of forms, or in other terms, between abstraction and figuration in nature. The Lu Mountains displays all the elements that made Wu Guanzhong's art great.吴冠中庐山 THE LU MOUNTAINS 局部细节Wu Guanzhong's pursuit of 'beauty of form' clearly differs from the modern formalism of the West; it is part of a more Eastern cultural vocabulary, closely tied to national sentiments. It is also deeply rooted in the perceptions of beauty gained during his rural life, from which evolved his unique and innovative creative vocabulary. Such a vocabulary served to present in art his actual experiences of the time, but also drew on the essence of the Chinese landscape painting tradition, a tradition not limited by the distinctions made in the West between abstraction and figuration. As he once wrote, 'In oil landscapes there aremountains, rivers, trees, houses....ex-pressing these concrete images is not too difficult. But it is the abstract forms of the organizing structural relationships between these concrete objects— that is, the upward or downward motion they produce, the squares, circles, curves, and straight lines, and warm or cool colors—and their responses to each other, their degree of concentration or expansion, and so on, that are actually crucial in determining whether a work is beautiful or not, or whether its conception succeeds.' If Wu Guanzhong's work is understood on this basis, then figuration and abstraction are simply two sides of the same coin, and the key lies in whether the artist's forms and ideas are capable of ex-pressing a conception that will touch the viewer. Put another way, what matters is whether technique and materials, through the shaping and structuring of the artist, can communicate the experience of the spirit. The poet Su Shi once wrote about the Lu Mountains that 'viewed from a distance, they seem a mountain range; from the side, a single peak,' reflecting the way in which the same mountain presents vastly different aspects from different viewpoints. This metaphorically describes the challenge faced by modern Chinese artists as they brought their Eastern aesthetic viewpoint into their work in a new medium. Wu Guanzhong's The Lu Mountains shows just how capable he was at solving this problem.The Lu Mountains makes absolutely clear that in the history of Chinese art, Wu Guanzhong enjoyed magnificent success in two important areas: creating works that reflected a national spirit, and developing innovative new approaches to painting.吴冠中庐山 THE LU MOUNTAINS 局部细节苏富比中文介绍吴冠中70年代经典作品《庐山》现世「在欧洲我考验了自己、照见了自己，今天，我对西洋现代艺术的爱好与崇拜之心念完全动摇了，我不愿以我的生命来选一朵花的职业，如果绘画只是仅求一点视觉的轻快，妆点了一角室壁的空虚，它应该更千倍地被人轻视！十年，我一步步追，一步步爬，在寻找一个连自己也不太清楚的目标，一个穷乡僻壤的孩子，爬到了这个西洋寻求欢乐社会的中心巴黎，到处看，我知道这个社会，这个人群与我不相干，灯红酒绿的狂舞对我太生疏…踏破铁鞋无觅处，艺术的学习不在欧洲，不在大师们的画室里，在祖国，在故乡，在家园，在自己的心底，我决定回国！」这是1950年，吴冠中从法国寄给他在杭州艺专的老师吴大羽的一封信。
庐山艺术特训营园林景观手绘设计
杨 健、陈红卫、沙 沛、夏克梁、庞伟、李宝章、马晓晨、王 珂、邓蒲兵、 柏 影、娄小云等
线条练习
植物树干表现技法
植物投影表现技法
植物单体表现技法
景观透视原理
景观透视原理表现技法
场景步骤钢笔表现技法
植物单体马克笔表现技法
植物单体上色步骤
石头水景上色---步骤图
景观马克笔表现技法——步骤图
景观马克笔表现技法——步骤图
小场景马克笔表现技法
学员作品欣赏
学员作品欣赏
名师作品欣赏---杨健
名师作品欣赏---沙沛
名师作品欣赏---马晓晨
名师作品欣赏---魏军
名师作品欣赏---魏军
名师作品欣赏---邓蒲兵
名师作品欣赏---邓蒲兵
名师作品欣赏---尚龙勇
特训风光、活动
Hale Waihona Puke
庐山艺术特训营手绘设计班课程表
日期 早茶 7月1号 7月2号 7月3号 7月4号 7月5号 7月6号 7月7号 7月8号 7月9号 7月10号 7月11号 7月12号 7月13号 7月14号 7月15号 7月16号 7月17号 7月18号 7月19号 7月20号 7月21号 7月22号 7月23号 7月24号 7月25号 7月26号 7月27号 7月28号 7月29号 7月30号 7月31号 8月1号 8月2号 8月3号 8月4号 8月5号 8月6号 8月7号 8月8号 8月9号 8月10号 8月11号 8月12号 8月13号 8月14号 8月15号 8月16号 8月17号 8月18号 8月19号 8月20号 8月21号 8月22号 8月23号 8月24号 8月25号 8月26号 8月27号 8月28号 8月29号 8月30号 专卖店快速表现 酒吧空间快速表现 酒吧空间快速表现 景观建筑鸟瞰图表现 庐山观看日出 别墅庭院设计与表现 总裁办公室方案设计 建筑设计思维与方法 当代景观设计思考 别墅庭院设计与表现 总裁办公室方案设计 建筑设计思维与方法 当代景观设计思考 小户型空间创意解析 别墅建筑景观规划方案设计表现 别墅室内设计与表现 空间与风水研究 陈红卫 杨健 盛宇宏 庞 伟 洪约瑟 沙沛 沙沛 余 工 别墅庭院设计与表现 总裁办公室方案设计 建筑设计作品赏析与解读 酒店表现快速设计与表现 样板房设计作品解析与设计要点 别墅建筑景观规划方案设计表现 别墅室内设计与表现 空间与风水研究 民居建筑临写 建筑写生与构图 建筑写生与构图 夏克梁 钢笔画写生技法 庐山写生 庐山写生 庐山写生 庐山写生 庐山写生 庐山写生 总统家杯手绘大赛与水彩艺术节高峰论坛 黑帽考试 2：00下庐山 别墅庭院设计与表现 总裁办公室方案设计 建筑设计作品赏析与解读 酒店表现快速设计与表现
庐山文化
文化价值庐山不仅风景秀丽，而且文化内涵深厚，更集教育名山、文化名山、宗教名山、政治名山于一身。
从司马迁“南登庐山”，到陶渊明、李白、白居易、苏轼、王安石、黄庭坚、陆游、朱熹、康有为、胡适、郭沫若等文坛巨匠或陈运和等诗文名家1500余位登临庐山，留下4000余首诗词歌赋的文化名山的确立；陈运和的诗作《庐山》称“三叠泉直泻青史，五老峰耸立古诗，仙人洞深藏抱负，龙首崖腾飞情思，含鄱口难吐感触，芦林湖汇聚现实，花径走过历代名士，天池阅尽苍茫人世，白鹿体壮养于书院，东林绿荫尽染佛寺”、“可见蒋介石残留足迹，敬仰毛泽东居住旧址，匡庐奇秀甲天下，世纪巨著出自此”。
庐山是一座历史悠久的文化名山，名胜古迹遍布。
千百年来，无数文人墨客、名人志士在此留下了浩如烟海的丹青墨迹和脍炙人口的篇章.毛泽东写的“天生一个仙人洞，无限风光在险峰”的吕洞宾修仙而居的仙人洞，均是诗景交融、名扬四海的绝境。
唐寅《庐山图》中的观音桥，周敦颐写出《爱莲说》的爱莲池。
歌咏庐山的诗词歌赋有4000余首。
东晋诗人谢灵运的《登庐山绝顶望诸峤》、南朝诗人鲍照的《望石门》等，是中国最早的山水诗之一，庐山并成为中国山水诗的策源地之一。
诗人陶渊明一生以庐山为背景进行创作，他所开创的田园诗风，影响了他以后的整个中国诗坛。
唐代诗人李白，五次游历庐山，为庐山留下《庐山遥寄卢侍御虚舟等14首诗歌，他的《望庐山瀑布》同庐山瀑布千古长流，在中国华大地及海外华人社会中家喻户晓，成为中国古代诗歌的极品。
宋代诗人苏轼的《题西林壁》，流传广泛，影响深远，“不识庐山真面目，只缘身在此山中”，成为充满辩证哲理的名句。
自然景观《登庐山》[原]（古体）攀千仞削壁，临万丈深渊。
过崎岖盘道，登巍峨峰巅。
天高地险，流水潺潺瀑飞悬；穿云破雾，清风拂拂衣衫翩！惊心动魄，喷雪鸣雷双耳愦；恸地憾天，波翻浪涌乾坤旋！断桥飞度，风声鹤唳肝胆裂；逶迤而上，缥缈一身似神仙！五老峰，三叠泉，含鄱口，龙首岩，侧看成峰横似岭，高低远近不一般，要知庐山真面目，携云伴雾不下山！锦绣谷自天桥循左侧石级路前行至仙人洞，为一段长约1.5公里的秀丽山谷，这便是庐山1980年新辟的著名风景点──锦绣谷。
艺术鉴赏
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The end ！
《庐山高图》鉴赏
文秘一班吴小惠 13号
《庐山高图》作者沈周
• 周（1427～1509）明代杰出书 画家。字启南，号石田、白石 翁、玉田生、有居竹居主人等。 汉族，长洲（今江苏苏州）人。 生於明宣德二年，卒於明正德 四年，享年八十三岁。不应科 举，专事诗文、书画，是明代 中期文人画“吴派”的开创者， 与文徵明、唐寅、仇英并称 “明四家”。传世作品有《庐 山高图》、《秋林话旧图》、 《沧州趣图》。著有《石田 集》、《客座新闻》等。
构图
• 《庐山高图》画家采用全景式构图， 以高远法布置画面，山峦重叠，草木 繁茂，结构严谨，气势雄伟。画面下 段近景一角画山根坡石，劲松杂树。 中段以庐山瀑布为中心，飞流直下， 其中两崖间斜横木桥，打破瀑布直线 的单调。同时瀑布左侧崖壁的石块纹 理具有内向的动势，与右侧位于中心 的山冈岸壁，似乎产生一种力的碰撞， 从而加强山冈向上的张力。下段两株 高大的劲松，其姿态明显与中段山冈 向上的趋势相呼应，把观者的视觉自 然引向画面上段，使近、中、远景自 下而上气脉相连。上段主峰雄伟，两 边奇峰兀立，云雾浮动。主峰给人以 崇高雄浑，厚重质朴之感，似乎寓意 老师的宽厚博大的人格精神。
特点
•
ቤተ መጻሕፍቲ ባይዱ这幅画在画法上是借鉴元代画
家王蒙的技法，山峰多用解索皴， 笔法稳健，充满着强烈的节奏和力 感。中段山冈用折带皴，与王蒙 《葛稚川移居图》画法有些相似， 墨色较淡，皴笔精细，表现出崖壁 的险峻。左边崖壁先勾后皴，墨色 较重，并以焦墨密点，显得苍郁幽 深。整个画面山石、层岩，稠密交 叠，一峰一石，作者都以干笔万笔 的皴、点。组成浓淡、疏密的远近 层次，和朴茂苍郁的艺术情趣。而 且细节之处，如山中自云，山上的 杂树小草，石阶、小路，以及人物 等都画得一丝不苟，显示出画家的 旺盛的精力和严谨认真的创作精神。
沈周《庐山高》图赏析 ppt课件
构图
• 此幅作品画面 饱满，画面山 峦呈“s”字形走 势。
• 左边和右边的山
阴
石颜色要比中间
阳 调
深，作者这样处 理使得画面有一 种跳跃感，不至
和
画面太平，没有
起伏。
• •
ቤተ መጻሕፍቲ ባይዱ技法比较
王沈 蒙周 《《 具庐 区山 林高 屋》 》图 图
细节比较
• 王蒙《具区林屋》图细节 • 沈周《庐山高》图细节
《庐山高》图赏析
《庐山高》图 纸本 1467年 193.8x98.1 现藏于：台北 故宫博物院
作者简介及创作此画背景： • 沈周是明代中期“吴门画 派”的精神领袖，他继承 元代文人画传统，并拓 展其内涵，印象了许多 后辈画家，使苏州成为 当时的绘画重镇。
• 据记载，沈周四十岁后 开始创作大幅作品，此 画就是他四十一岁时作 品。
落款
• 落款点题，画庐山， 为师祝寿（因图片像 素问题，暂只依稀看 出：庐山高及跋后落 款成化丁亥端阳日门 生长洲沈周诗画敬为 醒庵有道尊先生寿）
沈周与陈宽的渊源示意图
庐山的知识点(一)
庐山的知识点(一)庐山庐山，位于中国江西省鄱阳县北部，是中国著名的风景名胜和避暑胜地。
以下是关于庐山的一些相关知识点：地理位置•庐山位于江西省鄱阳县北部，距离南昌市约底20公里。
•庐山地处鄱阳湖北岸，属于赣江水系。
名胜古迹•庐山是中国四大名山之一，也是中国重要的风景名胜区。
•主要景点包括：双峰塔、花岗岩峰林景观、庐山瀑布、龙虎山、芦林湾、石屏山、花岗岩岩洞等。
•世界自然遗产地庐山，也是中国首批国家重点风景名胜区。
文化底蕴•庐山自古以来就是文人墨客倾慕之地，在中国古代文化史上占有重要地位。
•庐山与中国古代文学、绘画、诗词创作等有着密切的联系。
•庐山闻名于古代文人墨客的写作成果，如庐山谣、庐山赋、庐山诗等。
生态环境•庐山是中国的国家级自然保护区和国家重点风景名胜区，拥有丰富的生物资源。
•庐山的红外松、狮子峰薄壳松等珍稀树种被列为国家重点保护树种。
•庐山的动植物资源丰富多样，有众多珍稀物种，如云豹、红腹蛙等。
旅游特色•庐山是中国的著名避暑胜地，夏季气候凉爽宜人。
•旅游景点众多，有丰富的自然景观和人文景观。
•著名的旅游线路包括鼎湖、庐峰、龙虎、三清等。
以上是关于庐山的一些相关知识点，庐山以其独特的地理、文化和自然环境吸引着众多游客和文化爱好者前来参观和探索。
无论是追求自然风光还是寻找文化底蕴，庐山都是一个不可错过的目的地。
以下是对庐山的一些进一步详细解释：地理位置庐山位于中国江西省鄱阳县北部，地处鄱阳湖北岸，是江西省的著名景区和风景名胜区。
庐山的地理位置优越，距离省会南昌市仅约20公里，交通十分便利。
名胜古迹庐山是中国四大名山之一，也是中国重要的风景名胜区之一。
庐山以其独特的山峦、悬崖、瀑布和湖泊风景而闻名于世。
庐山的主要景点包括双峰塔、花岗岩峰林景观、庐山瀑布、龙虎山、芦林湾、石屏山、花岗岩岩洞等，这些景点带给人们无限的美感和惊叹。
文化底蕴庐山自古以来就是文人墨客倾慕之地，它与中国古代文学、绘画、诗词创作等有着密切的联系。