王谔（1462—1544，又一说1457—1530，古籍皆称他“年逾八十而卒”），明代画家。字廷直，奉化(今浙江奉化)人，世居奉化城内西锦里。弘治（1488-1505）初以绘事供事仁智殿。尝师里人萧凤，尽其术，乃肆力於唐、宋名家。凡奇山怪石，古木惊湍之类，尽摹其妙。以画名东南，其画树石多著烟霭之态，势如泼墨，而无四面枝干丛生疏密之意。孝宗好马远画，亟称曰：“王谔今之马远也。”武宗朝（1506-1521）升至锦衣千户，钦赐图书花带，白金文镪。后以疾乞归，家居年至八十余。笔力益劲。先时营圹城西，与家人诀。盛备仪仗，亲族送至葬所，不归。宋惧、卢镇皆师谔。惧所作山水、人物与谔无二。镇字砚溪，能画美人。镇子沛，字小溪，亦工画。一生主要学习马远的画法，就其画法当属浙派。长于人物，画格出吴伟之上。
明代成化、弘治到嘉靖前后的时期，是院体派和吴门派画风并存的时代，同时也是两派兴衰交替的时代。以林良、吕纪为代表的宫廷花鸟画包含了工笔重彩和水墨写意的不同风格。王谔则以山水画被孝宗朱瞻基称为“当代马远”。弘治正德中官锦衣千户。工山水，师南宋马远。他的画较之马远笔触更细，稍有放笔，体现了明代中期院体的时代风.

王谔之画，构图上大胆取舍剪裁，主景往往仅取山之一角、水之一涯，且置于一隅。画面上让出大块空白以突显主景，跟主景形成虚实相生之状，予人以玩味无尽的意趣。这就是所谓南宋大画家马远的“马一角”风格。用笔上，王谔的山石用的是恰到好处地“斧劈皴”，水墨俱下，有棱有角，饱含质感。南宋马远及今的八百年间，把“马一角”风格技法运用得炉火纯青的，除了马远，惟有王谔了。历来品评者多认为，作为后来者的王谔，不光秉承南宋院体画衣钵，还从马远壳裹中摆脱而出，使之更为纤巧妍丽而富有气韵。
明代宫廷画家的署款比较简单，通常只在边角落上姓名字号款了事。这为一些字画作假者打开了方便之门。他们为牟取更大利益，每每把“王谔”名款改为名气更大的“马远”，且令行家里手也常常走眼。
       绘画作品
       《江阁远眺图》 绢本，淡设色，纵：143.2厘米，横：229厘米。北京故宫博物院藏。
       王谔这幅画描绘的隔江远望的平远景象。松林石壁前临大江，江边有水榭楼阁，远处隔江对面，云雾弥漫之中，隔江峰峦起伏，山城环抱，楼船停泊江岸，遥相呼应。中间一片江波浩渺，水天空阔，横无涯际。近景的楼榭和远景的山城遥遥相对，画面气势开阔，意境幽美。湖中水波细密，前重后淡形成高远空阔，水天相接之势。对岸远山，晕染清淡，和近景中的浓墨重染形成对比，整幅作品用笔细劲，画面江水浩渺，水天空阔。山岚雾起、云烟迷漫、“水”气很足。此图很让人联想到马远的《踏歌图》来。画面表现城郭江天的平远景象。近处画长松巨岩、水榭画楼，一士人及二童仆悬栏远眺。隔江有山城隐约可见，城外江面有无数商船停泊。颇有[移舟泊烟渚，日暮客愁新]的意境。在笔墨技法上，画家继承了南宋马远、夏圭遗韵，着意师法而又有变化。用笔工整细密，山石用斧劈皴。该图是王谔的精心之作，曾为明内府所收藏。
       《踏雪寻梅图》 轴绢本，设色，纵106.7cm，横61.8cm。北京故宫博物院藏。
       踏雪寻梅是历代文人士大夫的雅事，亦为画家常用的题材。此图表现一主三仆，于雪天往深山寻梅的情景。王谔的绘画在明代被称为“今之马远”，此图正体现了这一说法。山石棱角方硬，树干虬曲苍劲，山体、坡石多用大斧劈皴，构图上也接近马远的“马一角”特征。此画为明代宫廷绘画的精品。
 

Wang (1462-1544, another said 1457-1530, ancient books are called him "over eighty and died"), the Ming Dynasty painter. Word Ting straight, Fenghua (now Zhejiang Fenghua) people, living in the city of Fenghua West Jinli. Koji (1488-1505) to draw things for the early Hall of benevolence. Xiao Feng Ren Ren Xiao Ren, make the surgery, is force in the Tang, Song masters. Where the strange rocks, ancient trees scared turbulence and the like, do copy its wonderful. To the southeast of the painting, the painting tree stone smoke Margaret of the state, such as the potential ink, without the four branches of the dense clusters of meaning. Takamune good horse painting, urgent said: "The king of this horse far." Wu Zongchao (1506-1521) rose to thousands of Jin Yi, Qin thanks to books with flowers, platinum text. After the begging to return home, home to more than eighty. Pen force Yi Jin. Xiang first operation West, and family formula. Siren, and relatives sent to the funeral home, not return. Song fear, Lu Zhen Jie E are. Fear of the landscape, the characters and the same. Town word Yan River, can draw beauty. Town Pei, word Creek, also work painting. Ma Yuan's life is mainly to learn the painting, the painting was undoubtedly Zhejiang School. Longer than the characters, painting on the Wu Wei.
Ming Dynasty, Hongzhi to Jiajing before and after the period, is the school style and Wu martial art style coexist era, but also the two factions alternately times. Lin Lin, Lu Ji as the representative of the palace flower and bird painting contains a heavy brushwork and ink different styles of freehand brushwork. Wang E Zeyi was the landscape painting was Xiaozong Zhu Zhanji called "contemporary Ma Yuan." Hongzhi Masanori official Jin Yi thousand households. Work landscape, the Southern Song Ma Yuan. His paintings are more detailed than Ma Yuan's brush strokes, a little put pen, reflecting the Ming Dynasty, the body of the era of the wind.