据《海虞画苑略》所载，元代常熟尚有谢庭芝、王圭、谢伯成、缪佚等，惜无作品流传，而不得窥其风貌。又据《海虞文征》所载，元代常熟画家陈希雅曾为当时判官秦某作《虞山送别图》，画家陆子善曾画《海虞游泳图》，两图均由元末寓居常熟的著名文人张著作序。据传秦得陈氏之图后，情不自禁赞叹:"吾将朝夕得游是山矣。"画家必以画名，可惜世事沧桑，今两图并为湮没。

 "虞山画派"的开山之父为王翚。王翚(1632年-1717年) 为"清初四王"之一，字石谷，号烟客、烟客外史，亦号耕烟散人、乌目山人、剑门樵客，清晖主人、虞山人等。晚号清晖老人，江苏常熟人。王翚出身文人世家，幼时爱画，因家贫，为画商摹制古画出售，故临摹了许多宋元名迹，取法宋元诸家，对传统古画的鉴赏、临摹，功力极深，曾三临元代黄公望《富春山居图》，宋以来许多失传的古画，往往借王翚的临摹得以有传世的稿本。初师邑中张珂，后得王鉴、王时敏"二王"指授，学习各家技法，融为一炉，还提倡以临古为宗旨，以笔墨为中心。作品运笔构思，不同时流，笔墨严谨、沉着苍劲，功力较深，师古而不泥古，显示出他在仿古方面高其余"三王"一筹。并把他与王时敏、王鉴、王原祁合称"四王"，"四王"加上吴历和恽寿平又合称"清代六家"，一直被视为清画坛的正宗代表。在"四王"中，王翚算得是一个技法比较全面，成就比较突出者，他的山水画，笔墨纯熟，功力相当深厚，其画风影响画坛数百年之久，更被尊为清代集传统笔墨之大成者。他早年画风趋于秀丽，晚年则开始重视观察自然，风格转同苍劲浑厚。

 画名盛于圣祖康熙(1661年-1722年)间，康熙中诏征，以布衣供奉内廷，康熙三十年(1691年)60岁时主持绘制《康熙南巡图》，共12大卷，堪称其创作画中的巨制，为清代手卷中的宏篇，声名益著，成为熔铸南北二宗的山水画大家。康熙皇帝非常满意，曾赐与一把题著"山水清晖"的画扇，并想给他一个官位。虽然他的兴趣并不在做官，但却因此而声名鹊起，晚年声名益彰，有"画圣"之誉。求画者益众。主要学生有杨晋、顾昉及李世倬、上睿、胡节、金学坚等。山水画后代因宗法王翚画风者众多，便形成了一个新的画派--"虞山派"，而早期虞山派的杨晋则是其中的佼佼者。 画史上把他及其弟子一派称为"虞山画派";

 传世之王翚作品有《渔村晚渡图》轴、《小中见大册》，均藏上海博物馆;《秋山草堂图》轴、《西山逸趣图》卷、《秋树昏鸦图》轴，均藏北京故宫博物院;著有《清晖画跋》、《清晖赠言》、《清晖堂诗集》、《清晖阁赠贻尺牍》。其曾孙王玖为"小四王"之一，承家学。善用枯笔。学生杨晋常为其代笔，形式近似;代笔者还有蔡远、胡节、宋骏业等;同时代的王荦专造其假画。在王翚的作品中，要数35岁至60岁之间的作品最为精彩，时人誉为"海内第一"，著名的有《设色万里长江图》、《寒林小景图》、《夏麓晴去图》、《南巡圣典图》、《夏木垂荫图》等。现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。《芳洲图》(常熟博物馆藏，康熙四十六年、丁亥、1707年，绢本设色，纵185、横94.5厘米)，画上自题曰:"余自戊寅岁与芳洲先生同客燕台，良晤之暇，为制《芳洲图卷》以赠，盖仿其先世秋江封公曾有白石翁《秋江图》也。阅数年，余两人共遂家山之约，而贤嗣兆鹍世兄辈欲推广其意，嘱写悬幅以娱晨夕。余复喜为图此，奉作老友烟云供养也。康熙丁亥夏五，耕烟散人王 识，时年七十有六。"晚年的王翚名声显赫，常熟博物馆藏有其大量传世佳作。

 同时，江苏太仓的"娄东画派"(简称"娄东派")因其画风崇古保守，画家王原祁并与"虞山画派"创始人王翚同为"四王"相互依托，继其祖父王时敏家法并仿黄公望法，名重一时，师承者甚多，即成中国画流派之一。娄江(即浏河)东流经过太仓，故称"娄东派"。以族弟王昱、侄王愫，弟子黄鼎、王敬铭、金永熙、李为宪、曹培源、华鲲及温仪、唐岱等为著;其后有曾孙王宸、族侄王三锡，以及盛大士、黄均、王学浩等。此派的对后世影响颇大。

 brief introduction

According to "Haiyu Painting Garden Lue", there were Xie Tingzhi, Wang Gui, Xie Bocheng and Miao Yi in Changshu of Yuan Dynasty, but no works were circulated, so we could not get a glimpse of their style and features. According to Haiyu Wenzheng, Chen Xiya, a painter of Changshu in the Yuan Dynasty, wrote a farewell picture of Yushan for a judge of Qin Dynasty, and Lu Zishan, a painter, drew a swimming picture of Haiyu, both of which were prefaced by Zhang, a well-known scholar residing in Changshu in the late Yuan Dynasty. According to legend, after Qin got Chen's map, he couldn't help exclaiming, "I will travel all day and all night to the mountains. "Painters must be painted under their names. Unfortunately, the vicissitudes of the world have gone into oblivion.

History of Painting School

The founding father of the Yushan School of Painting was Wang Qi. Wang Qi (1632-1717) was one of the "Four Kings" in the early Qing Dynasty. He was named Shigu, the name of Yan Gu, the foreign history of Yan Gu and Yan Gu, as well as the name of Tingyan Sanren, Wumu Shan people, Jianmen woodcutter, the owner of Qinghui and Yushan people. Late Qinghui old man, Jiangsu Changshu. Wang Fei was born in a literary family. He loved painting when he was young. Because he was poor, he copied many famous paintings of Song and Yuan Dynasty. He used the methods of Song and Yuan Dynasties to appreciate and copy traditional paintings. He once copied Huang Gongwang's Fuchun Mountain Residence Picture in the Yuan Dynasty. Many lost ancient paintings since Song Dynasty were often copied by Wang Fei. With handed down manuscripts. Zhang Ke in the first Shiyi was instructed by Wang Jian and Wang Shimin as "two kings". He learned various techniques and integrated them into one furnace. He also advocated taking Lingu as the purpose and taking pen and ink as the center. The design of his works is different from that of the others. His brush and ink are rigorous, calm and vigorous. He has deep skills. He is a master of the ancients but not muddy. This shows that he is superior to the other "three kings" in imitating the ancients. He and Wang Shimin, Wang Jian and Wang Yuanqi are called the "Four Kings". The "Four Kings", together with Wu Li and Yun Shouping, are also called the "Six Schools of the Qing Dynasty". They have been regarded as the authentic representatives of the Qing Dynasty. Among the "Four Kings", Wang Fei is a comparatively comprehensive artist with outstanding achievements. His landscape paintings are skilled in brush and ink, and have a profound skill. His style of painting has influenced the painting circle for hundreds of years, and he is respected as a great master of traditional brush and ink in the Qing Dynasty. In his early years, his painting style tended to be beautiful, but in his later years, he began to pay attention to observing nature, and his style turned to vigorous and vigorous.