豐子愷於1920年代的作品主要是以黑白人物漫畫為主；1937年以後，豐子愷因為戰爭逃難之故，開始大量地創作山水風景畫。這些風景畫雖然不同於以往豐氏的作品，大多敷以厚重濃麗的色彩，且畫紙漸漸放大起來，但其山水風景畫的風格卻仍然秉持其以往人物畫作品中一貫有的活力、朝氣、驚喜與人文關懷。豐子愷畫中所具有的靈趣和人文意涵，非一般人所能及。更重要的是，在分析了解豐于愷的山水風景畫的風格與思想後，我們不但看到了二十世紀的文人山水畫家如何在傳統與現代中尋找出路，也可以看出豐子愷繪畫與日本藝壇之間密切的關係。

Most of Feng Zikai's early works were done in monochrome and the subject matter was cartoon drawings. In the late 1930s and 1940s, Feng began to do a lot of landscape paintings in color. The subject matters changes; however, Feng's art works still carry strong lyrical sense and humanitarianism. Unlike the traditional landscape paintings, Feng's paintings communicate the exhilaration of exploration and discovery. Feng's landscape paintings reveal not only that how a modern Chinese landscape painter bridge the gap between tradition and innovation' but also the Sino-Japanese art scene and relationship in 1930s.