清秦祖永《桐荫论画》曰:“石道人髡残,笔墨苍莽高古,盖胸中一股孤高奇逸之气毕露笔端。”髡残出家为僧,云游四方,一生大部分时间都在自然山川中度过,见朝夕云烟幻景,心中自有一股山野之气。所以,他的山水画能够得自然之机趣,与那些“困于稿本”的复古派画作迥然不同。髡残作画喜用渴笔、秃毫,笔法浑厚、凝重、苍劲、荒率,山石、树木层层皴擦勾染,笔墨交融,画面产生“奥境奇辟,缅邈幽深,引人入胜”之境。《苍翠凌天图》是髡残的设色山水画代表作。画面崇山层叠,古木丛生;近处杂树掩映,茅屋数间,柴门半掩,轻岚浮动;山腰处林木苍郁,山泉潺潺,一条山道曲折蜿蜒向上, Qing Qin Zuyong “Tong Yin on painting,” said: “Stone Road, people crumbling, pen and ink reckless old, cover the chest in a solitary Gaoyi Qi Bi Lu de pen side.” Spent in the natural mountains and rivers, see the sun and the moon cloud illusion, the heart of a mountain of their own gas. Therefore, his landscape painting can be naturally interesting, and those “trapped in script ” retro painting is very different.髡 residual painting likes to use thirsty pen, bald cents, brushwork vigorous, dignified, vigorous, desolate, rock, tree layers of rubbing stained with ink, ink and wash, the picture produces “Austria Jing strange provision, Burmese deep, fascinating” The environment. “Green Ling-day map” is a residual color of landscape paintings masterpiece. The picture is covered with layers of mountains and ancient woods; the near miscellaneous trees are set off, the number of huthouses is several, Chaimenmenbi and Qinglan are floating; the lush forests and gurgling springs at the mountainside meander meander up and down,