清初的山水画坛,有以“四王”为首的“正统派”和以“四僧”为首的“个性派”两大阵营。“正统派”见重于朝廷,在画学思想和创作方法上受董其昌的深刻影响,苦心精研宋、元,倍加仰慕“南宋”大家名迹,尤其崇拜“元四家”。他们注重笔墨,画面审美趣味的表达更加精致,但较少观察自然描写具体生活感受。“四王”之中包括两代人:第一代是王时敏与王鉴,第二代是王时敏之孙王原祁及王时敏与王鉴的学生王。王原祁曾供职南书房,其山水画直接渊源于祖父,而自家面貌更为强烈。他晚年奉命编纂《佩文 In the early Qing Dynasty, there were two major camps, “orthodox” led by “Four Kings ” and “personality school headed by ” four monks “. ”Orthodoxy “ focuses on the court, in the painting ideas and creative methods by the profound influence of Dong Qichang, painstaking research Song, Yuan, double admired ”Southern Song “ everyone, especially worship ”. They focus on the pen and ink, the aesthetic expression of the picture is more refined, but less natural description of the specific life experience. “Four Kings ” includes two generations: the first generation is Wang Shimin and Wang Jian, the second generation is the Wang Sun Wang Wang Wang Qi and Wang Shimin and student Wang Wang. Wang Yuan Qi served Southern Studies, whose landscapes originated directly from his grandfather, while their own appearance is more intense. He was later commissioned to compile "Pei Wen