回顾中国山水画史我们不难发现,一些山水画家尽管有着高超的传统笔墨功夫和深厚的文化素养,但由于忽视写生,而创作不出生动、感人的山水画作品来。清代以“四王”为代表的摹古派就是一个典型的例子。摹古派画家力求做到笔笔有来历,但由于他们完全沉浸于古人的思想、技法和意境之中,没有到生活中去吸收养分,导致他们的作品以景物堆砌,内容空洞,缺乏感染力。相反,“四僧”则完全不同。他们以山林为友、丘壑为师,走进自然,研究物理,总结画法,不断地从自然中吸取养分,从而创造出了全新的绘画风格。如石涛的许多山水小品,符号众 Recalling the history of Chinese landscapes, we can easily find that some landscape painters, despite their superb traditional brushwork and profound cultural accomplishments, can not produce vivid and touching landscape paintings because of ignoring sketch. The ancient school represented by “four kings ” in Qing Dynasty is a typical example. However, because they are completely immersed in the thoughts, techniques and artistic conceptions of the ancients, they have not yet absorbed nutrients in their daily life. As a result, their work is characterized by scenery, empty content and lack of appeal . On the contrary, “four monks” are completely different. They take the mountains as friends, Qiu as a teacher, walked into nature, studied physics, summed up the painting method, constantly absorbing nutrients from nature, thus creating a completely new style of painting. Such as many of the Taoist landscapes, symbolic public