张山来先生云：“有地上之山水，有画上之山水，有梦中之山水，有胸中之山水。地上者，妙在丘壑深邃；画上者，妙在笔墨淋漓；梦中者，妙在景象变幻；胸中者，妙在位置自如。”
段日戒评曰：“若诗文中之山水，其幽深变幻更不可名状。”依此看来，真实山水，画中山水，梦中山水皆各有妙趣，但要“位置自如”，其实就必须在构图上做功夫，如再加上“笔墨淋漓”，那便是上乘之作了。段先生硬是加上“诗文之山水”，道明“诗中有画”的真谛就在诗文之中，画山水而不读书、不读诗，是画不出东西来的。
In the words of Zhang Shanlai: "There are real mountain landscapes, mountain landscapes in paintings, mountain landscapes in dreams, and mountain landscapes in the heart. The beauty of real mountain landscapes lies in the depth of their peaks and gullies; that of painted mountain landscapes lies in their fluent depiction; that of dreamed mountain landscapes lies in their illusions; and that of heart-felt mountain landscapes lies in their free and easy locations.
Critique of Duan Rijie: "Like mountain landscapes in a poem, their profundity and illusion are indescribable." From this perspective, while real mountain landscapes, mountain landscapes in paintings, and mountain landscapes in dreams all have their appeal, to achieve a "free and easy location" requires great skill at composition, as well as "fluent depiction" in order to achieve a real masterpiece. The fact that Duan purposely adds "mountain landscapes in poems" expresses that the real significance of "paintings in poetry" is that a painter who paints landscapes without reading books or poetry cannot really paint anything. ＠
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