"Simplicity and innocence" is one of the important aesthetic characteristics of the southern landscape painting school. Ju Ran's landscape is characterized by high altitude. Unlike Dong Yuan's paintings, which are characterized by the depth of the south, he is good at painting the real scenery in the mountains and has quite characteristics. Its scenery pays attention to structure, is good at fine management, fine but not scattered, and is uniform. By the end of the Northern Song Dynasty, Mi and his son had won the true meaning of Dong Yuan's Pingchuan scenery. During the Southern Song Dynasty, the sunset in the fishing village, which was often published by the monk painter, and the far-reaching painting by the monk painter Ruofen, both used minimalist pen and ink, especially large-scale rendering techniques, to cover a few scenery such as mountains, trees, people, boats and clouds in a faint fog, resulting in an unpredictable and distant and hazy landscape, far like that of Dongyuan.
Pingjing is a major artistic feature of the Southern Landscape Painting School, and it also reflects the style of the Southern Landscape Painting School. In the Yuan Dynasty, the trend of adopting the "East Lift Method" gradually opened up. Dong Tang, a famous art connoisseur in Yuan Dynasty, thought that "the landscape painting in Tang Dynasty began in Song Dynasty, and its source was above the princes", and he had a new understanding of Dong Yuan.
The four schools in the late Yuan Dynasty and the Wumen in the Ming Dynasty took Dong Yuan as a model. It is rare for Dong Yuan to have such a profound influence on later generations in the history of China landscape painting.