身历明清鼎革的王铎,存世绘画不多,但山水作品别具一格。经梳理可知,他创作的山水画在晚明时较少,入清之后则渐次增多。其画构图专取五代荆浩、关仝惯用的高远之法,气魄博大沉雄,间或运用唐王维、五代董源的墨法,令画面不失于单调、重复。王铎的山水画成就多来自“临古”的艺术实践,他既能从中汲取古人优长,又能不拘泥于前贤绳墨,敢于突破“形似”的羁绊,强调藉简括朴拙的笔墨表现雄强高阔的万千气象。这正是他经由“临古”之途,实践“创新”之思,得以在画坛占有一席之地的重要因素。此外,王铎笔下的山水别有幽微之义,或在排遣身仕两朝的纠结情绪之际,存有诠释林泉志向与期冀致仕的隐衷,或借思乡之情而传达出怀念故国的情绪。 Wang Duo, who lived in the Ming and Qing dynasties, had a limited number of paintings in his memory of the world, but his landscape works are unique. After combing, we can see that his landscape painting was less in the late Ming Dynasty, and gradually increased after the Qing Dynasty. The composition of the painting dedicated to the Five Dynasties Jing Hao, with the customary lofty method, bold spirit Shen Xiong, or between Tang Wang Wei, Wu Dai Dong Yuan Mo law, so that the picture is not lost in monotonous, repeated. Wang Duo’s landscape painting mostly comes from the artistic practice of “Pro ancient”, he can learn from the ancient superiority, but also not rigidly adhere to the predecessors, dare to break the “shape ” bondage, emphasizing the use of simple and clumsy Pen and ink performance of the vast and powerful thousands of weather. This is exactly one of the important factors that enabled him to gain a place in the art scene through his thinking of “innovation” through his “ancient” way. In addition, the landscapes of Wang Duo do not have a sense of seclusion, or there is an implicit intention of announcing Lin Quanzhi’s excuse to excuse himself during his expeditions, .