别署凸斋、鼎楼主人等。一九四八年三月生于北京，山西太原人。现任中央美术学院教授、书法艺术研究室主任、中国书法家协会篆刻艺术委员会副主任、全国中青年书法篆刻展评审委员会副主任。作品曾多次在国内外展出和发表，被多家美术馆、博物馆收藏，并出版专集数种。现任中央美术学院教授、中国美术家协会会员、东方美术交流学会副理事长。
王镛先生作为当今富有独立见解和开拓精神的艺术家，在书、画、印三方面都有取得了较高的成就。
他的作品涌荡着一种向往原始，向往自然的人文态度，透脱着一份苍茫与雄浑的大扑境界，成为中青年书画家中的重镇。
在水墨画家中，能在书、画、印三个领域中均有较高造诣，并使三者高度统一，以此独标一格，自成一家者，并不多见，王镛当是其中的佼佼者。其早期的山水，受文人画之溽染，追求疏简清秀的笔致。至20世纪90年代，画风始变，逐渐向山水画的主脉—荆关董巨的宏大、崇高性山水画回归，着意于依真而作，
笔墨繁复的“画家画”的创作，以此超越了小趣味、小技巧的文人画樊篱。王镛的画风走朴野雄浑一路，作画时，率性而为，大胆落笔，层层积墨，自然生成森严之气势，浑厚绵密中流光徘徊，溢出通透的灵性和放浪的野逸。王镛的书法以小笔作大字，锋、腹、根并用，成功塑造出拙朴之中，暗埋巍峨的书风。
在王镛的画面上，书、画、印虽形态各异，但在风格、精神层面上，却表现出惊人的一致性.
作品有《红树秋山日欲斜》、《燕山长城》、《大江东去》、《田园小景》、《秋声暗向树头归》、《秋声》等。

一九七九年考取中央美术学院中国画系李可染、梁树年教授研究生，攻山水画和书法篆刻专业，得到叶浅予、梁树年等先生的指导，一九八一年在研究生毕业展中获叶浅予奖金一等奖并留校执教。

Person of original poster of fast of the protruding that fasten arrange, vessel waits. Was born at Beijing in March 1948, shanxi Taiyuan person. Currently hold the post ofart of professor of central academy of fine arts, calligraphy seal cutting of calligraphy of the youth in vice director of council of art of seal cutting of association of calligrapher of lab director, China, whole nation exhibits evaluation council vice director. Work ever was exhibiting domestic and internationally for many times and publish, be collected by much home art gallery, museum, publish only volume number is planted. Currently hold the post ofacademician of artist of professor of central academy of fine arts, China, Oriental art to communicate institutional vice-president.
Mr Wang Yong regards current rich independence as the artist of opinion and pioneering spirit, in book, picture, imprint tripartite face has obtained higher achievement.
His work emerges swinging a kind yearning and primitive, the humanitarian manner of yearning nature, taking off fully vast with vigorous and firm attack greatly state, the town of military importance in home of painting and calligraphy of the youth in becoming.
In wash home, can be in book, picture, imprint there all is taller attainment in 3 domains, make 3 person height is unified, with this alone mark one case, be unique in one's style person, do not see more, wang Yong should be the among them person that above average. Its inchoate landscape, suffer what bookman draws to humid catch, go after the pen of scanty Jian Qingxiu to send. To 20 centuries 90 time, picture wind only then change, gradually to the landscape painting advocate arteries and veins, the regression of landscape painting of baronial, great sex that chaste tree closes Dong Ju, act carefully Yu Yizhen and make,
Of writing heavy and complicated " the painter is drawn " creation, the bookman that surmounted little interest, little skill with this draws Fan Li. Picture wind of Wang Yong walks along Piao Ye vigorous and firm all the way, when making a picture, lead a gender and be, bold start to write or draw, layer upon layer accumulate Chinese ink, build the momentum of forbidding naturally, simple and honest light of continous close midstream wanders, spill over an intelligence of animals that appear and Bohemian wild ease. Wang Yong's calligraphy makes big character with small drawing, sharp edge, abdomen, root is used, model Chinese hackberrya giving clumsy successfully in, dark the book wind that buries lofty.
On Wang Yong's picture, book, picture, although,imprint configuration each different, but go up in level of style, spirit, show breathtaking consistency however.
Work has " day of mangrove autumn hill desire inclined " , " Yan Shan Great Wall " , " great river east go " , " rural Xiaojing " , " head of dark Xiang Shu puts in Qiu Sheng 's charge " , " Qiu Sheng " etc.