20世纪初,革新传统山水画之思潮发轫于画坛。吴湖帆、郑午昌、贺天健等海上画家试图求新于四王陈规之外,进而突出南宗藩篱。其画风似古实新,时入翕然从之。宗履谷承清末陆恢衣钵,深研传统,精擅六法。相较湖帆、午昌、天健而言,虽未能卓然出新,但从“四王吴恽”而上溯董巨,乃至王摩诘(王维),以清润笔墨、浅绛设色,臻于平淡隽雅、苍秀古朴之境,尽得“用神气生动为法,不求物趣,以得天趣为高”之妙,近于吴待秋、吴子深、吴琴木、张石园等辈而有名于时。画风笔蹊介于琴木之清秀华滋、石园之苍古幽玄之间,故论其为民国海上传统画派殿军,应非过誉之辞。 At the beginning of the 20th century, the trend of innovations in traditional landscape painting began in the painting circles. Wu Hufan, Zheng Wuchang, He Tianjian and other marine painters tried to seek new ways beyond the four monarchs, thus highlighting the southern boundary. Its style like the ancient reality of the new era, suddenly into it. Shuguang Valley end of the Lu Hui mantle, deep research tradition, fine at six. Compared with Hufan, Wuchang, Tianjian, though not perfect, but from the “Four King Wu 恽” and Dong Ju, and even Wang Mo 诘 (Wang Wei), with moist ink, light purple Set color, reaching flat Jun Junya, Cangxiu plain environment, to do “with a vivid as the law, not for the sake of things, in order to have the highest interest,” the wonderful, near Wu to autumn, Wuzi Shen, Wu Qin wood, Zhang Shiyuan Referred to the same generation and time. The style of writing is between Qingqiu Hua Zi of Qinqin and Cangxuan of Cangyuan, therefore, it is not a fame for the Legation of the Traditional Painting at the Republic of China.