王蒙（1308－1385年）bai，字叔明，号黄鹤山樵、香光居士，吴兴人。元朝画家。与黄公望、吴镇、倪瓒合称“元四家”。赵孟外孙。zhi元末弃官，隐居临平黄dao鹤山，自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年，因“胡惟庸案”牵累，死于狱中。

Wang Meng (1308-1385) Bai (1308-1385) was born in Wuxing. Yuan Dynasty painter. Together with Huang Gongwang, Wuzhen and Ni Zan, they are called "Yuan Si Jia". Zhao Meng's grandson. Zhi abandoned his official post in the late Yuan Dynasty and lived in seclusion in Huangshao Heshan, Linping. He was called "Huang Heshan Qiao" until his later years. He became a magistrate of Tai'an in Shandong Province in the early Ming Dynasty. In the 18th year of Hongwu, he died in prison because of the "Hu Weiyong case".

其山水画受到赵孟影响，师法董源、巨然，集诸家之长自创风格。作品以繁密见胜，重峦叠嶂，长松茂树，气势充沛，变化多端；喜用解索皴和牛毛皴，干湿互用，寄秀润清新于厚重浑穆之中；苔点多焦墨渴笔，顺势而下。兼攻人物、墨竹，并擅行楷。其代表作有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。

Influenced by Zhao Meng, his landscape painting imitated Dong Yuan and Ju ran, and created his own style with the strong points of various schools. His works are full of vigor and variety. He likes to use Xie Suo Cun and Niu Mao Cun, which are dry and wet, and express the beauty and freshness in the thick and muddy. The moss is full of scorched ink and eager to write with the trend. At the same time, he is good at using regular script. His representative works include the painting of living in seclusion in Qingbian, the migration of Ge Zhichuan, the seclusion of summer mountain, the painting of Danshan Yinghai, and the painting of Taibai Mountain.

王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。《画史绘要》中说：“王蒙山水师巨然，甚得用墨法”。而恽南田更说他“远宗摩诘（王维）”。常用皴法，有解索皴和牛毛皴两种，其特征，一是好用蜷曲如蚯蚓的皴笔，以用笔揿变和“繁”著称；另一是用“淡墨钩石骨，纯以焦墨皴擦，使石中绝无余地，再加以破点，望之郁然深秀”。

Wang Meng's "water halo ink chapter" enriches the expression techniques of national painting. His unique style is shown in his "majestic vitality", his skillful use of pen, and his strange and indistinguishable clue. "Painting history and painting essentials" said: "Wang Meng landscape master Juran, very ink method.". Yun Nantian also said that he was "far away from Mo Jie (Wang Wei)". There are two kinds of commonly used texturing methods: one is easy to use the curly texturing pen like earthworm, which is famous for its brushwork and "complexity"; the other is to use "light ink hook stone bone, pure with burnt ink, so that there is no room for stone, and then to break the point, looking at the gloomy deep show.".

王蒙出身名门，他是著名的书画大师赵孟的外孙，对于赵孟我想凡是了解绘画艺术的人都能对他说上一二，赵孟是一个非常博学而且多才的人，他不仅能够画画，而且还能够写诗作文章，什么书法啊雕刻啊可以说是样样精通！这是一个学识非常广博，成就非常杰出的大师。身为这样一个书画大家的外孙，王蒙能够有如此高的成就就不难理解了，毕竟有着外祖父做榜样，王蒙自然是不甘落后的。外祖父在绘画方面有着一些卓越的贡献，而王蒙也是不例外的，他在绘画方面经过探索和研究，取得了自己的一些艺术感受。并且他还发明了一些技法，比如说牛毛皴。而在笔墨的使用方面，他也十分的具有心得，他画出来的作品给人一种非常强烈的感受，总结起来他的绘画风格就是焦墨渴笔，繁密充实。

Wang Meng was born in a famous family. He is the grandson of Zhao Meng, a famous master of calligraphy and painting. For Zhao Meng, I think anyone who knows the art of painting can tell him something about him. Zhao Meng is a very erudite and versatile person. He can not only paint, but also write poems and articles. What calligraphy and sculpture can be said to be proficient in everything! He is a master of great learning and outstanding achievements. As the grandson of such a master of calligraphy and painting, it is not difficult to understand that Wang Meng can achieve such a high level of achievement. After all, with his grandfather as an example, Wang Meng naturally does not want to lag behind. His grandfather made some outstanding contributions in painting, and Wang Meng was no exception. He made some artistic feelings through exploration and research in painting. And he also invented some techniques, such as ox hair texturing. And in the use of ink, he is also very experienced. His paintings give people a very strong feeling. To sum up, his painting style is ink thirsty, dense and full.

　王蒙生于1301年，字叔明，吴兴人(今浙江湖州)，为元代画坛巨擘赵孟頫之外孙。元末曾做过小官，此后入黄鹤山隐居，因号黄鹤山樵，黄鹤山人，黄鹤山中樵者云云，与黄鹤山有不解之缘，居黄鹤山中前后达三十年之久。时因元朝统治者实行民族歧视政策，原来南宋统治下的南方汉族人被列为第四等人，而当时知识阶层更堕落到仅高于乞丐的第九等。文人、画家彷徨苦闷，向往清静的“世外桃源”，纷纷入道参禅隐逸江湖，远离人间烟火。这于艺术的发展，在特定的文艺氛围下，却产生了新的多姿多彩的文化。艺术家可以不受统治者审美观点“长官意志”的制约，终于打破了院体画心理定势和理法构架，促使文人写意画的蓬勃发展，以至成为中国绘画的主流画派。王蒙隐居黄鹤山，应为元朝中晚期，天高皇帝远，可以放浪形骸，避离官宦管辖，潜心体验生活。从宋人的重造化、重理性、重写实转向重心绪、重意象、重写意，改变了宋时“图真”严密不拘的审美取向，创造出全新的笔墨风格，丰富和发展了中国山水画艺术的审美形式和意境内涵。

Wang Meng, born in 1301, is the grandson of Zhao Mengfu, a great painter in Yuan Dynasty. At the end of the Yuan Dynasty, he was a small official, and then he lived in seclusion in Huanghe mountain. He was called a woodcutter in Huangheshan. He lived in Huangheshan for 30 years. At that time, because the rulers of the Yuan Dynasty carried out the policy of ethnic discrimination, the Han people in the south of the Song Dynasty were listed as the fourth class, while the intellectual class degenerated to the ninth class only higher than beggars. The literati and painters were wandering and depressed, yearning for the quiet "paradise", and they all entered the path of meditation, secluded in the lake and lake, far away from the fireworks in the world. In the development of art, a new and colorful culture has been produced in the specific atmosphere of literature and art. Artists can not be restricted by the ruler's aesthetic point of view "the will of the governor", and finally broke the psychological set and theoretical framework of the Academy painting, promoting the vigorous development of literati freehand painting, and even becoming the mainstream Painting School of Chinese painting. Wang Meng lived in seclusion in Huangheshan, which should be in the middle and late Yuan Dynasty. Emperor Tiangao was far away from him. He could let loose his life, avoid the administration of officials and experience life with all his heart. From the emphasis on creation, rationality and realism in Song Dynasty, the emphasis on mood, image and freehand brushwork has changed the strict and unconstrained aesthetic orientation of "drawing truth" in Song Dynasty, created a new style of brush and ink, enriched and developed the aesthetic form and artistic conception connotation of Chinese landscape painting art.

　　王蒙的山水，表现了他对生活的情感、热望和理想，他最大的成就是创造了一个生动、茂密的

江南

“繁”体意笔山水体系，自成一格。其中最了不起的是创作了前所未有的山石皴法——从披麻皴基础上演化发展丰富起来的解索皴，或递丝袅空皴、牛毛皴，作长线扭索状，凡四十余丈起伏高低连绵不断能以一气而贯之，完整体现出江南一带植被浓密、草木茂盛的大自然，或笔意蓬松，或水墨淹润，或细密工致，一种苍莽深秀中见润泽的情感化诗情画意的艺术，浑然于南宋院派的刚健，北派的巍峨森严，而把中国南派山水画推向繁密、松动、深邃明秀的文人画境界。在技法上广因生宣的产生和以书法入画法的古意得到弘扬，使中国画的笔墨内涵上升到高度精神化层面而不断新发展新创造。王蒙所创的画风，对后世产生了极大的影响力。

Wang Meng's mountains and waters show his feelings, aspirations and ideals for life. His greatest achievement is to create a vivid and dense system of "Fanfan" style of landscape painting in the south of the Yangtze River. One of the most remarkable is the creation of an unprecedented method of mountain stone texturing, which has evolved from hemp texturing to rich texturing, such as silk curling texturing and ox hair texturing, in the form of a long twisted rope. More than 40 Zhang Long ups and downs are continuous, which can be run through in one breath, fully reflecting the nature of dense vegetation and lush vegetation in the south of the Yangtze River, Or meticulous and exquisite, a kind of art with rich emotion, poetic and picturesque feeling in the dark and deep show. It is due to the vigorous of the academy school in the Southern Song Dynasty and the towering and strict northern school, which pushes the landscape painting of the Southern School of China to a dense, loose, profound and bright realm of literati painting. In terms of techniques, the production of Shengxuan and the ancient meaning of calligraphy into painting have been carried forward, which makes the connotation of Chinese painting brush and ink rise to a high spiritual level and constantly develop and create. The painting style created by Wang Meng had a great influence on later generations.

精品推荐：此王蒙《猎骑图》全图笔法尖细，树叶全用双钩填色，树干精勾细描，树形复杂多变，设色均用墨色勾勒，山石用小笔细写，并用墨，灰色反复渲染，墨彩相彰，画断崖用斧劈、刮铁、折带诸皴法，与他常用的披麻皴与解索皴迥异，画中人物的描法简洁中见精工，造型头大身小，古拙可爱。帽式及马匹均以朱砂及花青点染，把林与人物作近景布置，布局屈伸变换，穿插映带，蜿蜒曲折，虽繁复而见单纯，予人以深邃意境，的郁茂气势，引导观者进入奇特的精神享受，可谓匠心独运！

Recommended works: the whole painting of hunting and riding by Wang Meng is sharp and thin. The leaves are all colored with double hooks, and the tree trunks are finely depicted. The tree shape is complex and changeable. The colors are outlined in ink. The mountains and rocks are depicted in small strokes, and they are rendered repeatedly with ink. The ink colors show each other. Chopping, scraping iron, folding and other methods are used to draw cliffs. They are quite different from his usual methods of chapping and untying. The description of the characters in the painting is simple See Seiko, modeling head big body small, ancient and cute. Hat and horse