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唐·王维既是与李白、杜甫齐名的诗人,又是成就卓著的画家。王维兼善山水、树石,朱景玄《唐朝名画录》将其列为妙品上。其实,他在唐代并没有获得很高的评价。他的声望是随着北宋后期苏轼等倡导的文人画运动的兴起而迅速上升的,至明末莫是龙、董其昌等提出南北宗论,王维最终被尊为南宗正统画的开山祖师。 纵览中国山水画史,王维《辋川图卷》屡被提及,它在山水画的演变过程中,作为古典绘画的里程碑,扮演着极为重要的角色。例如,元初赵孟（兆页）提倡复古主义、主张恢复北宋以前的绘画传统,那时,王维《辋川图卷》成为最合适的研究对象。赵孟（兆页）将这件作品等同于王羲之《兰亭序》加以重视,现藏于大英博物馆的《辋川图卷摹本》,一般认为是他亲手临摹的。清初四王之一并开创娄东派的王原祁,也曾在康熙五年（1711）制作了规模很大的《辋川图卷摹本》（大都会美术馆藏）,并通过对此图的研究,建立了独自的
Tang Wang Wei is not only a poet with Li Bai and Du Fu, but also an outstanding painter. Wang Wei and good landscapes, tree stone, Zhu Jingxuan “Tang Dynasty famous record” will be listed as a wonderful product. In fact, he did not get a high rating in the Tang Dynasty. His reputation grew rapidly with the rise of the literati movement advocated by Su Shi during the late Northern Song Dynasty. By the end of the Ming dynasty, such as Longzong and Dong Qichang proposed the Northern and Southern theories, and Wang Wei was eventually honored as the founder of the Southern Zong orthodox paintings. Looking at the history of Chinese landscape painting, Wang Wei’s “Wangchuan Tutu” has been repeatedly mentioned. It plays an extremely important role as a landmark of classical painting in the evolution of landscape painting. For example, Zhao Meng at the beginning of the Yuan dynasty advocated retroism and advocated the restoration of the painting tradition before the Northern Song Dynasty. At that time, Wang Wei’s “Wangchuan Tutu” became the most appropriate research object. Zhao Meng (mega page) This work is equal to Wang Xizhi’s “Orchid Pavilion Preface” to be valued, now hidden in the British Museum’s “Wang Chuan map copies”, generally considered to be his own copy. Wang Yuanqi, one of the four early Qing dynasties who founded the Lou Dong School, also produced a large scale copy of “Wang Chuan Tu Zhi Ben” (The Metropolitan Museum of Art) in Kangxi five years (1711). Through the study of this figure , Established alone