“四僧”之一的弘仁,在明清交替之际的画坛,因极富个性笔墨表现和张扬的反“法”与重“道”美学追求,表现出与正统身份的“四王”风格迥异的绘画特征。他善画山水,其作品以淡远清简的格调,浑厚伟峻的意境呈现出一种独特的魅力,成为明末清初一道独特的景观。纵观弘仁的山水画作品,无不充溢着清初许多遗民画家所特有的感伤故国不在、理想无着的遗民心态。值得注意的是,除了山水作品之外,弘仁还常常以竹、梅、松等为题,借物抒情,传递其在家国变革之际的郁郁心境。正因花鸟草木历来就为文人士大夫所推崇,并把其品格与君子 Hong Ren, one of the “Four Monks,” turned the corner of Ming and Qing Dynasties into an image of orthodox identity because of his pursuit of aesthetics and “anti- ”Four Kings " different style of painting features. He is good at painting landscapes, his works with the style of the far-away Qing Dynasty, vigorous and gracious mood presents a unique charm, a unique landscape of the late Ming and early Qing Dynasty. Throughout the works of Hongren’s landscape paintings, all the sentimental tragedies unique to many surviving artists in the early Qing dynasty disappeared, and the ideals of the descendants of the ideal world disappeared. It is noteworthy that apart from the landscape works, Hongren also often uses bamboo, plum, pine and the like as a theme to borrow the material to express their feelings and feelings during the transformation of their homeland. It is precisely because flowers and plants have always been praised by literati and doctor, and their character and gentleman