詩、書、畫集於一體的元代文人畫，在中國畫史上深具獨特人文氣習。而「糢糊美學」是 一項多元繁雜之美學理論，該理論與元代漢、蒙文化交流之繁複性，以及當時文人之思想意識之 矛盾性、衝擊性等，多有所交集。元代文人畫突破傳統窠臼，畫作之互滲交融與變形創新，與模 糊美學之中介三階段相關。而畫作透過筆墨游移所產生的生動墨趣，或寫愁或寄恨或狂怪或野 逸，亦不具精確性。另在主體意識與畫作對象之間，彼此超越對立，在意象中呈顯出畫中的「視 覺模糊」、「描繪模糊」、「空間模糊」等三層次，以及迷離有序的「過渡模糊」、強化山水生命之 肌理「點綴模糊」等模糊美學特質。故今嘗試以糢糊美學原理，探索元趙孟頫以及黃公望、王蒙、 倪瓚、吳鎮四大家之代表性畫作，所顯現之模糊美感。

The scholar painting in the Yuan Dynasty was combined with classical poetries, penmanship and paintings. It possessed the distinguishing characteristics of the scholar works on the history of Chinese painting. Fuzzy esthetics was an esthetics theory of diversification and complexity. Fuzzy esthetics had the genius about the culture was mixed Han and Mongol, also very complicated, including contradictions and conflict of scholars’ ideology in the Yuan dynasty. The scholar painting in the Yuan dynasty broke with tradition; the draws indicated the originality and blend. Those related to three stages of the intermediary about Fuzzy Esthetics. The ink painting caused the relish vivid images of diffusion. They had not precision, no matter what pent-up feelings of sorrow, fervent hatred, monomania and leisure. Besides the painters could be surmounted contraries between their modernization and paintings, the imagines presented three planes, including vision fuzzy, drawing fuzzy, space fuzzy and so on. And also transit fuzzy, chaotic but well-organized; digital pressing fuzzy, such intensified the texture of landscape paintings, etc. They were all the similar traits of fuzzy esthetics. So, I would try to research on the theory of fuzzy esthetics and the representative paintings also presented the same characteristics. The main painters were Zhao Meng-Fu, and four great masters of traditional Chinese painting in the Yuan dynasty, they were Huang Gong-Wang, Wang Meng, Ni Zan and Wu Zhen. Their works were mixed up in the fuzzy image.