在中国美术史上,极富书卷气的清代文人画家的尚古之风和对传统笔墨的研究之盛是空前绝后的。在他们百摹不厌的画家里,“元四家”之一的王蒙无疑是最受推崇的一位。据统计,除去许多不为后世所知的画家之外,仅清初“四王”所画的仿王蒙山水的作品,存世的就有一百余件。王蒙画风在清代画家中受欢迎的程度由此可见一斑。清代画家主要从王蒙画风中抽取了两个基本的绘画元素:其一是繁复交织的渴笔牛毛皴法。其二是在王蒙山水画的前景中经常出现的那种对高大的平顶松树的描绘。这两种被彰显了的绘画元素由此生成一种程式化了的笔墨元素。成为清代一些文人画家作品中所普遍遵循的模式,就像一种固定的配方 In the history of fine arts in China, the monumental style of the Qing Dynasty literati painters and the study of traditional ink and brush paintings, which were extremely bookish, were unprecedented. In their painters who never die tired, Wang Meng, one of the “Four Yuan”, is undoubtedly the most admired one. According to statistics, except for many painters who are not known for future generations, there are only a hundred pieces of works preserved in the landscape of Wang Meng by the Qing Dynasty. The popularity of Wang Meng’s painting style in the Qing Dynasty is evident from this. The Qing Dynasty painters mainly draw two basic elements of painting from the style of Wang Meng: one is the complicated interwoven thirsty whimsical method. The other is the description of tall, flat-top pine trees that often appear in the foreground of Wang Meng’s landscape paintings. These two highlighted painting elements create a stylized ink element. Become a common practice in the works of some literati artists in the Qing Dynasty model, like a fixed formula