山水画在19世纪,始终没有完全突破“四王”的模式,纵有少数画家略出新样,但无法和“四王”陈营对抗。黄宾虹一出,综研百家,采纳古今,集众所善,在传统基础上积厚加深,一扫“四王”末习萎靡之气,成为古今集大成者。19世纪中国山水画还没有黄宾虹这样的“高峰”。黄宾虹之后有傅抱石,傅抱石创“抱石皴”,狂放飞动,犹如天风海雨,更彻底的扫除了“四王”余习。再后有黄宾虹的学生李可染,创“李家山水”.他借用素描和油画的长处及形式,以传统的笔墨表现大自然 Landscape painting in the 19th century, has not completely break the “four kings” mode, even though a small number of painters a little out of shape, but not with the “four kings” Chen Ying confrontation. Huang Binhong a comprehensive research hundred, the adoption of ancient and modern, collect good, based on the traditional thick, deepen, swept away the “four kings” end of the apathetic, become ancient and modern. Nineteenth Century Chinese landscape painting Huang Binhong such a “peak.” After Huang Binhong Fu Baoshi, Fu Baoshi hit “bouldering”, wild flying, like the wind and rain, a more thorough removal of the “Four Kings” Yu Xi. Then there was Huang Binhong’s pupil Li Keran, who created “Li’s Landscape.” Drawing on the strengths and forms of sketches and oil paintings, he used traditional ink and brush to express nature