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渐江(1610一1664)是明清之际新安画派中的代表人物,与查士标、孙逸、汪之瑞合称“新安四家”。近代山水画大师黄宾虹称:“渐师初学北苑,继效倪迂,超轶前明,冠绝千古;非但于新安画家,足以称宗作主……”(黄宾虹《渐江大师事迹轶闻》)中国山水画到两宋时期,无论创作理论还是技法实践都已经日臻完善成熟,经元一代到明清之际,总体上与宋元时期的山水画不可同日而语,风格日趋圆熟、萎弱,缺乏创造力,摹古之风盛行。而此时新安画派,以笔墨高妙,韵追宋元,写真造境,貌写家山,在17世纪的中国画坛独步一时。渐江作为新安画派领袖,其绘画成就在中国绘画史中有着极其重要的地位和影响。从传统画学角度去考察,其山水画中的笔墨继承与
Jiang Jian (1610-1664) was the representative of the Xin’an School of Painting during the Ming and Qing Dynasties. Together with Charles Shi, Sun Yat-sen and Wang Zhi-rui, they collectively referred to as “Xin’an Four”. Huang Binhong, a master of modern landscape painting, said: "Graduating from Beiyuan in the beginning, following the example of Ni Yi, the former Yi Ming, the crowning eternal beauty; not only in Xin’an painter, From the first generation of Yuan Dynasty to the Ming and Qing Dynasties, the landscapes in China were generally different from those in the Song and Yuan dynasties. , Lack of creativity, prevalence of Mogu style. At this time, the Xin’an School of Painting, with its fine brushwork, Song Yuan, picturesque environment, and writers Mount, was the only Chinese painting in the 17th century. As the leader of the Xin’an School of Painting, Jian Jiang’s achievements in painting have an extremely important position and influence in the history of Chinese painting. From the perspective of traditional painting to examine, the landscape painting in the ink and succession