Wang Meng (1308–1385), the grandson of Zhao Mengfu and one of the Four Masters of the Yuan Dynasty, reached the zenith of his artistic career with "Dwelling in the Qingbian Mountains" (Qingbian Yinju Tu). Painted in 1366, this hanging scroll is widely regarded as one of the greatest masterpieces in the history of Chinese landscape painting, currently housed in the Shanghai Museum.

The compositional structure of the work is characterized by its "Jiemi" (dense and tight) style. Unlike the sparse, airy landscapes of his contemporary Ni Zan, Wang Meng fills the scroll with a towering verticality. The mountain peaks are arranged in a dynamic S-curve, creating a sense of restless energy and geological turbulence. The sheer density of the peaks and valleys creates a claustrophobic grandeur that was revolutionary for the 14th century.

Technically, the painting is a showcase of Wang Meng’s signature "Niumao Cun" (Ox-hair strokes). These fine, wavy, and interwoven lines build up immense textural depth on the rock surfaces. He combined these with "Jiedian" (peppercorn dots) to represent dense foliage and moss, and used layered ink washes to achieve a volumetric weight that makes the mountain seem to pulse with "Qi" (vital energy).

From a philosophical perspective, the painting reflects the literati ideal of reclusion. The "Qingbian Mountains" were Wang Meng's ancestral home. By depicting the hidden thatched huts nestled deep within the jagged cliffs, Wang Meng expressed a spiritual longing for a sanctuary amidst the political chaos of the late Yuan period. It is a subjective landscape, representing an internal state of mind rather than a mere topographical record.

The historical influence of this work is immeasurable. The late Ming theorist Dong Qichang hailed it as the "Number One" painting under heaven. It established the Orthodox school's fascination with structural complexity and rhythmic brushwork, serving as a foundational text for generations of painters seeking to capture the transcendent power of nature.