probably the paramount member of the group of Chinese painters known as the Four Wangs (including Wang Shimin, 1592–1680, Wang Jian, 1598–1677, and Wang Yuanqi, 1642–1715), who represented the so-called “orthodox school (wenrenhua)” of painting in the Ming and early Qing periods. The orthodox school was based upon the dicta laid down by Dong Qichang (1555–1636). It was “orthodox” in the Confucian sense of continuing traditional modes, and it was in contrast to a group of Individualists (especially Shitao and Zhu Da) who ultimately came to represent another development of the standards for the painter and his painting as codified by Dong.

Wang Shimin and Wang Jian were the teachers of Wang Hui. Wang Hui was taken into Wang Jian's household in 1651 and was there introduced to the leading scholar-painter of the day, Wang Shimin, who had in turn been the disciple of Dong. Thus Wang Hui enjoyed a broad and profound contact with both the theory and practice of what Dong had taught and, according to the praise of both his teachers and contemporaries, excelled in painting. Wang Hui's fame reached the court in Beijing, and in the period 1691–98 he was commissioned to supervise the production of a series of hand scrolls commemorating the Kangxi emperor's tour of the South. After that, however, he returned to the cultivated elegance of private life.

Wang Hui, much like the other Wangs, primarily painted landscapes. Though much of his painting is academic and pedestrian, there is in his best works an intensity in the handling of brushstroke rhythms and textures that yields a dense and detailed unity without losing the composition's clarity or meaning.