从元代开始,随着文人进入画坛,绘画的材料由原先的绢本渐渐改用了纸本。绢本利于勾勒、渲染,而纸本较粗糙,笔墨易出现迟涩、松毛感,因此也就形成了元代绘画“干笔皴擦”的笔墨特点这点,在山水画上反映最为明显,并对后世产生了较大的影响在“元四家”中,王蒙对明清两代山水画的影响仅次于黄公 From the Yuan Dynasty onwards, as literati entered the painting circle, the material of the painting was gradually switched from paper to paper from the original silk version. The silk book is conducive to outline, rendering, and the paper is more rough, easy to appear late Shibuya, feeling fluffy, it also formed the Yuan Dynasty painting “dry brush rubbing ” the characteristics of this point in the landscape painting reflects the most obvious , And had a greater impact on future generations In the “Yuan Si Jia ”, Wang Meng on the landscape paintings of Ming and Qing Dynasties after Huang Gong