晚明王鐸繼董其昌而起,與董一樣,他也頗具雄心,以文化權威自期。在與董其昌相交集的時期,他們感情甚洽,在摹古、鑒定、社交策略及傳播手段上,董氏都啓發了年輕的王鐸。而在董其昌去世之後,王鐸卻毫不諱言和董的分歧。在繪畫方面,他不認同董源在山水晝史上的宗主地位,而對荊浩等五代北宋畫家給予了更高的評價。在書法方面,與董其昌推崇“秀”與“淡”不同,王鐸將氣勢、力量與層次的繁複作爲經營的重心。追隨董其昌的松江派與時流,成爲王鐸嚴厲批判的標靶。這些分歧,與王鐸對大幅作品的青睞有密切關繫。就書法而言,王鐸爲適應立軸新形式對整體感的要求,完成了以結構模式對董其昌用筆模式的取代。這一轉换更深刻的原因,則可追溯到萬曆、崇禎兩個時期不同的歷史情境與文人心態。董、王之間的分歧成爲當日書法新變的動力,而王鐸對偶然意趣的强化,又隱然可見董其昌所提倡的“生”之美學的只澤。 Following the rise of Dong Qichang in the late Ming Dynasty, Wang Duo, like Dong, was also ambitious and took the cultural authority for a long time. In the time of their meeting with Dong Qichang, they had a close relationship with each other. In terms of imitation, identification, social strategies and means of communication, Dong inspired the young Wang Duo. After Dong Qichang’s death, however, Wang Duo denied Dong’s disagreements. In terms of painting, he did not agree with Dong Yuan’s status as a suzerainty in the history of mountains and rivers, but gave a higher opinion to artists such as Jing Hao’s Northern Song Dynasty painters. In terms of calligraphy, unlike Dong Qichang, who praises “show ” and “light ”, Wang Duo takes the momentum, power and level of complexity as the center of his business. Follow Dong Qichang Songjiang school and current, become the target of severe criticism of Wang Duo. These differences are closely related to Wang Duo’s favor for major works. As far as calligraphy is concerned, in order to adapt to the new form of vertical axis, Wang Duo fulfilled the requirements of the overall sense and completed the replacement of Dong Qichang’s pen mode with the structural mode. The reason for this deeper conversion can be traced back to the different historical situations and literati mentality in the Wanli and Chongzhen periods. The disagreements between Dong and Wang became the motive force for the new calligraphic change of the day, and Wang Duo’s fortification of contingent interest can be seen in the only aestheticism advocated by Dong Qichang.