王蒙（1308－1385年）bai，字叔明，號黃鶴山樵、香光居士，吳興人。元朝畫家。與黃公望、吳鎮、倪瓚合稱“元四家”。趙孟外孫。zhi元末棄官，隱居臨平黃dao鶴山，自號“黃鶴山樵”，直至晚年才下山出仕，於明初任山東泰安知州。洪武十八年，因“胡惟庸案”牽累，死於獄中。
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".
其山水畫受到趙孟影響，師法董源、巨然，集諸家之長自創風格。作品以繁密見勝，重巒疊嶂，長松茂樹，氣勢充沛，變化多端；喜用解索皴和牛毛皴，乾溼互用，寄秀潤清新於厚重渾穆之中；苔點多焦墨渴筆，順勢而下。兼攻人物、墨竹，並擅行楷。其代表作有《青卞隱居圖》《葛稚川移居圖》《夏山高隱圖》《丹山瀛海圖》《太白山圖》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>
王蒙創造的“水暈墨章”，豐富了民族繪畫的表現技法。他的獨特風格，表現在“元氣磅礴”、用筆熟練、“縱橫離奇，莫辨端倪”。《畫史繪要》中說：“王蒙山水師巨然，甚得用墨法”。而惲南田更說他“遠宗摩詰（王維）”。常用皴法，有解索皴和牛毛皴兩種，其特徵，一是好用蜷曲如蚯蚓的皴筆，以用筆撳變和“繁”著稱；另一是用“淡墨鉤石骨，純以焦墨皴擦，使石中絕無餘地，再加以破點，望之鬱然深秀”。
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.".
王蒙出身名門，他是著名的書畫大師趙孟的外孫，對於趙孟我想凡是瞭解繪畫藝術的人都能對他說上一二，趙孟是一個非常博學而且多才的人，他不僅能夠畫畫，而且還能夠寫詩作文章，什麼書法啊雕刻啊可以說是樣樣精通！這是一個學識非常廣博，成就非常傑出的大師。身為這樣一個書畫大家的外孫，王蒙能夠有如此高的成就就不難理解了，畢竟有著外祖父做榜樣，王蒙自然是不甘落後的。外祖父在繪畫方面有著一些卓越的貢獻，而王蒙也是不例外的，他在繪畫方面經過探索和研究，取得了自己的一些藝術感受。並且他還發明瞭一些技法，比如說牛毛皴。而在筆墨的使用方面，他也十分的具有心得，他畫出來的作品給人一種非常強烈的感受，總結起來他的繪畫風格就是焦墨渴筆，繁密充實。
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.
王蒙生於1301年，字叔明，吳興人(今浙江湖州)，為元代畫壇巨擘趙孟頫之外孫。元末曾做過小官，此後入黃鶴山隱居，因號黃鶴山樵，黃鶴山人，黃鶴山中樵者云云，與黃鶴山有不解之緣，居黃鶴山中前後達三十年之久。時因元朝統治者實行民族歧視政策，原來南宋統治下的南方漢族人被列為第四等人，而當時知識階層更墮落到僅高於乞丐的第九等。文人、畫家彷徨苦悶，嚮往清靜的“世外桃源”，紛紛入道參禪隱逸江湖，遠離人間煙火。這於藝術的發展，在特定的文藝氛圍下，卻產生了新的多姿多彩的文化。藝術家可以不受統治者審美觀點“長官意志”的制約，終於打破了院體畫心理定勢和理法構架，促使文人寫意畫的蓬勃發展，以至成為中國繪畫的主流畫派。王蒙隱居黃鶴山，應為元朝中晚期，天高皇帝遠，可以放浪形骸，避離官宦管轄，潛心體驗生活。從宋人的重造化、重理性、重寫實轉向重心緒、重意象、重寫意，改變了宋時“圖真”嚴密不拘的審美取向，創造出全新的筆墨風格，豐富和發展了中國山水畫藝術的審美形式和意境內涵。
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，表現了他對生活的情感、熱望和理想，他最大的成就是創造了一個生動、茂密的江南“繁”體意筆山水體系，自成一格。其中最了不起的是創作了前所未有的山石皴法——從披麻皴基礎上演化發展豐富起來的解索皴，或遞絲嫋空皴、牛毛皴，作長線扭索狀，凡四十餘丈起伏高低連綿不斷能以一氣而貫之，完整體現出江南一帶植被濃密、草木茂盛的大自然，或筆意蓬鬆，或水墨淹潤，或細密工緻，一種蒼莽深秀中見潤澤的情感化詩情畫意的藝術，渾然於南宋院派的剛健，北派的巍峨森嚴，而把中國南派山水畫推向繁密、鬆動、深邃明秀的文人畫境界。在技法上廣因生宣的產生和以書法入畫法的古意得到弘揚，使中國畫的筆墨內涵上升到高度精神化層面而不斷新發展新創造。王蒙所創的畫風，對後世產生了極大的影響力。
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.
精品推薦：此王蒙《獵騎圖》全圖筆法尖細，樹葉全用雙鉤填色，樹幹精勾細描，樹形複雜多變，設色均用墨色勾勒，山石用小筆細寫，並用墨，灰色反覆渲染，墨彩相彰，畫斷崖用斧劈、刮鐵、折帶諸皴法，與他常用的披麻皴與解索皴迥異，畫中人物的描法簡潔中見精工，造型頭大身小，古拙可愛。帽式及馬匹均以硃砂及花青點染，把林與人物作近景佈置，佈局屈伸變換，穿插映帶，蜿蜒曲折，雖繁複而見單純，予人以深邃意境，的鬱茂氣勢，引導觀者進入奇特的精神享受，可謂匠心獨運！
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
