本文藉黃公望於曹知白〈群峰雪霽圖〉畫上題稱「筆意古淡、有摩詰之遺韻」為起點，試圖分析黃公望讚揚曹知白風格的背景脈絡。首先說明黃公望此一考慮，實與趙孟頫的復古作法同中有異；接著從黃公望所能掌握的王維風格，比對黃公望與趙孟頫對於王維典型的不同掌握；再透過黃公望所見書畫收藏，梳理其所獲得的古代風格面貌。最後，經由黃公望的道友交往圈以及黃公望本人的雪圖風格等考慮，本文試圖闡明此一發展趨向的背景應屬元代江南道教文化之一環，可說是一個不同於趙孟頫影響力的另一重要繪畫發展歷程。

This study starts with an inscription by Huang Gongwang on Cao Zhibo’s “Clearing After Snow over Mountains” that reads, “The brush manner is archaic and plain, revealing traces of Mojie (Wang Wei),” in an attempt to analyze the background of Huang’s praise of Cao’s style. The study first explains Huang Gongwang’s concepts as actually differing from the revivalist practices of Zhao Mengfu at the time, and then goes on to examine Huang’s grasp of Wang Wei’s style by contrasting Huang Gongwang and Zhao Mengfu’s different approaches to the Wang Wei model. This is followed by combing through the appearance of ancient styles that Huang Gongwang had access to via the art collections he viewed. Finally, by considering Huang Gongwang’s relationship with fellow Taoists and Huang’s own paintings of snowy landscapes, this study attempts to show the development of this subject as being part of the Taoist culture in Jiangnan during the Yuan dynasty, thereby proposing an important influence other than that of Zhao Mengfu in the development of Chinese painting.