随着国内外对龚贤研究的重视,他在画史上的地位逐得到应有的评价。他的山水画不论是从布局、意境、还是艺术技巧来说都是自成一家。当代画家黄宾虹吸收了龚贤的积墨法,把山水画的用墨大大的向前推进了一步。李可染又在这个基础上敢于用重墨,完成了一次中国山水画的革命。本文主要从龚贤山水画的笔墨入手,结合自己的艺术实践加以论述,从而全面的认识龚贤画风的特点及其影响。 With the emphasis on the study of Gong Xian at home and abroad, his position in the history of painting has been given due evaluation. His landscape paintings are both self-contained in terms of layout, artistic conception and artistic skills. Huang Bin-hong, a contemporary painter, absorbed Gong Yin’s ink-in-law and took ink painting of landscape painting a big step forward. On the basis of this, Li Keran dared to use heavy ink to complete the revolution of Chinese landscape painting. This article mainly starts with the pen and ink of Gong Xian ’s landscape painting and discusses his own artistic practice so as to comprehensively understand the characteristics and influence of Gong Xian’ s style of painting.