北宋米芾说他“工关河之势，峰峦少秀气”。关仝在山水画的立意造境上能超出荆浩的格局，而显露出自己独具的风貌，被称之为关家山水。他的画风朴素，形象鲜明突出，简括动人，被誉为“笔愈简而气愈壮，景愈少而意愈长”。关仝喜作秋山、寒林、村居、野渡、幽人逸士、渔村山驿的生活景物，能使观者如身临其境，“悠然如在灞桥风雪中，三峡闻猿时”，具有强烈的艺术感染力。论者谓其晚年成就，较之荆浩更能青出于蓝，是荆浩画派的有力继承者，与荆浩并称为荆关。关仝传世作品有《山溪待渡图》及《关山行旅图》等。

《山溪待渡图》描绘大山下水滨有人待渡，画中大山矗立，石质坚凝，气象壮伟荒寒，与宋人论述关仝山水“坐突危峰，下瞰穷谷，卓尔峭拔者，（关）仝能一笔而成”（《五代名画补遗》）的风貌相似。《关山行旅图》画深秋季节荒山中的野店行旅，勾皴简括有力，景物高深，虚突富有变化，穿插各种人物活动，使画面更富生活气息。

《宣和画谱》著录御府藏画中有其《秋山图》《江山渔艇图》《春山萧寺图》等94件。传世作品有《山溪待渡图》轴、《关山行旅图》轴等，相传为其所作，图录于《故宫名画三百种》。至明末，睢州的袁枢（袁可立子）是收藏荆、关、董、巨作品的集大成者，明王时敏《烟客题跋·题自画关使君袁环中》：“环翁使君，既工盘礴，又富收藏。李营丘为士大夫之宗，米南宫乃精鉴之祖，故使荆、关、董、巨真名迹归其家。”张庚《国朝画征录》：“枢博学好古，精鉴赏，家富收藏，工书画，为华亭董宗伯，孟津王觉斯所推许。山水出入董（董源）、巨（巨然）、子久（黄公望）间。”枢之父袁可立乃抗清名臣，明亡，枢在金陵绝食忧郁而死，作品流失无算。

关仝的画风对当时及后世均有很大影响。北宋著名画家郭忠恕，早年就师事关仝，不仅气势宏伟，其笔法也不落俗套。此外，关仝的弟子还有王士元、刘永、王端等。王士元是汝南宛丘人，古人说他无一笔无来处，画精微，只是缺乏深山大谷烟霞之气。刘永是开封人，曾习诸家山水，一日见到关仝的画，大为感叹：“此乃得名至艺者乎？向所谓登泰山而小鲁。”于是专法关氏，果然登堂入室。王端字子正，山东人。山水得关氏之要，曾在大相国寺画过壁画，又善写肖像，宋真宗很欣赏他。刘永、王端皆有四时山水传于宋世。元代无锡画家倪云林，本属江南山水画派，但也从关画中吸收了皴笔横竖交接、层层相叠的画法，并将关画的中锋为主改为侧锋为主，成为一种新的皴法——折带皴，用于表现太湖沿岸的坡石，从而完成了倪氏的典型风格特征。

 Guan Geng (about 907-960), from Chang'an (Xi'an, Shaanxi Province). Painters of the Hou Liang Dynasty in the Five Dynasties. One is Guan Tong and Guan Duan. The conception and conception of landscape painting can go beyond the pattern of Jinghao, and reveal its unique style, known as Guanjia landscape. Painting landscapes, learning from Jinghao in his early years, and forgetting to eat and sleep. The landscape painted can show the characteristics and magnificent momentum of the mountains and rivers in Guanshan area. Simple style, vivid image, concise and moving, known as "the simpler the brush, the stronger the spirit, the less the scenery and the longer the meaning". Mi Fu of the Northern Song Dynasty said that "Gongguan River's momentum, hills and mountains are few and elegant". With Li Cheng and Fan Kuan, three main schools of landscape painting were formed in the Five Dynasties and the Northern Song Dynasty. They were also called the Four Landscape Painters in the Five Dynasties and the Northern Song Dynasty together with Jinghao, Dong Yuan and Juran.

Mi Fu of the Northern Song Dynasty said that he had "the power of the Gongguan River, with few peaks and beautiful scenery". Guan Zheng's conception and conception of landscape painting can go beyond Jinghao's pattern, and reveal his unique style, which is called Guanjia landscape. His painting style is simple, vivid and moving. He is praised as "the simpler the brush, the stronger the spirit, the fewer the scenery and the longer the meaning". Guan Bing likes to be the living scenery of Qiushan, cold forest, village dwelling, wild crossing, tranquil people, fishing village and mountain post, which can make the viewer feel at home, "leisurely as in the wind and snow of Baqiao, when the Three Gorges smells apes", and has a strong artistic appeal. Critics say that his achievements in his later years are more green and blue than Jinghao's. He is a powerful successor of Jinghao School of Painting and is also known as Jingguan with Jinghao. Guan Bing's works handed down from generation to generation include The Picture of Waiting for Crossing in Mountain Stream and The Picture of Traveling in Guanshan Mountain, etc.

The picture of mountains and rivers waiting for crossing depicts people waiting for crossing in the waterfront of mountains and rivers, with mountains standing upright, solid stones, magnificent and cold weather. It is similar to the Song Dynasty's description of Guan Bing's landscape as "sitting on dangerous peaks, looking down at poor valleys, Zhuo Er Qiaobao (Guan) can be written in one stroke" ("Supplement to Five Generations of Famous Paintings"). "Guanshan Travel Map" paints the wild Inn travel in the barren mountains in late autumn season. The outline is concise and powerful, the scenery is deep, the illusion is full of changes, and various character activities are interspersed to make the picture richer in life.

Among the Tibetan paintings of the Imperial Palace recorded in Xuanhe Pictures, there are 94 such paintings as Qiushan Picture, Jiangshan Fishing Boat Picture and Xiaosi Picture of Spring Mountain. The works handed down from generation to generation include the axes of Shanxi Waiting to Crossing Pictures and Guanshan Travel Pictures. They are handed down for their works. They are recorded in 300 Famous Paintings of the Palace Museum. By the end of Ming Dynasty, Yuan Shu (Yuan Kelizi) of Suizhou was a master of collecting Jing, Guan, Dong and giant works. Wang Shimin of Ming Dynasty wrote "Yanke Tiaoba, Title Self-Painting Guan Envoy Yuan Huanzhong": "Huanweng Envoys Jun, who is both a worker and a rich collector. Li Yingqiu was the ancestor of scholar-bureaucrats and Minan Palace was the ancestor of Jing, Guan, Dong and Juzhen. Zhang Geng's Collection of Paintings of the Guo Dynasty: "He is well-educated, well-appreciated, well-off and well-off. He works in calligraphy and painting, which is approved by Dong Zongbo of Huating and Wang Juezi of Mengjin. Landscape access between Dong Yuan, Ju Ran and Zi Chang (Huang Gongwang). Yuan Keli, the father of Hu, was a famous minister in the Qing Dynasty. He died in the Ming Dynasty. He died of hunger strikes and melancholy in Jinling.

Guan Ting's style of painting had a great influence on both then and later generations. Guo Zhongshu, a famous painter in the Northern Song Dynasty, had a close relationship with his teachers in his early years. He was not only magnificent, but also his brushwork was not stereotyped. In addition, Guan's disciples include Wang Shiyuan, Liu Yong and Wang Duan. Wang Shiyuan is a Wanqiu native of Runan. The ancients said that he had no pen, no place, and his paintings were exquisite, but he lacked the smoke of deep mountains and valleys. Liu Yong, a native of Kaifeng, once studied the landscapes of various schools. When he saw Guan Ding's paintings one day, he was greatly sighed: "This is the name of the artist?" To the so-called climbing Mount Tai and Xiaolu. So Faguan went into the hall and entered the room. Wang Duanzizheng is from Shandong Province. He had painted murals and portraits in Daxiangguo Temple. Song Zhenzong appreciated him very much. Liu Yong and Wang Duan had four seasons of landscape spread in the Song Dynasty. Ni Yunlin, a painter of Wuxi in the Yuan Dynasty, belonged to the Jiangnan Landscape Painting School, but he also absorbed the painting techniques of horizontal and vertical intersection of sketches and layers of overlapping brushes from Guan Painting, and changed the center of Guan Painting to the side front as a new method of sketching, which was used to represent the slopes and stones along the Taihu Lake, thus completing the typical style characteristics of Ni's.