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。明孝宗好马远画，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格。

 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。

 《踏雪寻梅图》

绢本，设色，纵106.7cm，横61.8cm。

款署：“臣王谔写”。钤“御府图绘之记”朱文印。画面另钤有“弘治”、“广运之宝”、“陈履平印”、“东林清荫”等鉴藏印多方。

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。王谔被明代皇帝称为“今之马远”，此图的画风即验证了这一说法。画中山石棱角方硬，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。

有故宫博物院藏的布局开阔的《江阁远眺图》轴（配图即为此画），山东省博物馆藏《雪山行旅图》轴、《寒山图》，济南市博物馆的《秋堂吹箫图》轴，台北故宫博物院藏《瑞雪凝冬图》，安徽省博物馆藏《观瀑图》，藏于日本的《雪岭风高图》。

 Wang Jian (1462-1544, another 1457-1530) is a painter of Ming Dynasty. Zi Tingzhi, a native of Fenghua (now Fenghua, Zhejiang), lives in the West Jinli of Fenghua City.

Hongzhi (1488-1505) first served Renzhi Temple with paintings. Xiao Feng, a teacher in the Tang and Song Dynasties, tried his best to do his best. All strange mountains and rocks, ancient trees and so on, do their best to imitate it. In the southeastern part of China, the paintings of trees and stones are full of smoke and mist, which is like splashing ink without dense branches and trunks on all sides. Xiaozong of the Ming Dynasty painted Ma Yuan well and urgently said, "The horse of Wang Jie today is also far away." The Wuzong Dynasty (1506-1521) rose to 1000 families in Jinyi, with books and flower belts and platinum inscriptions. Later, he returned from begging and lived for more than eighty years. The pen is strong. First Yingyucheng West, with family tips. Honour guards are prepared, and relatives are sent to the funeral home. Song Fei and Luzhen are all taught by their teachers. Fear of landscapes, characters and sayings. Inkstone River can draw beautiful people. Zhenzipei, the word stream, also works and paintings.

In his lifetime, he mainly studied Ma Yuan's paintings, which belonged to Zhejiang School. Being superior to characters, Wu Wei is the best painter. The period from Chenghua, Hongzhi to Jiajing in Ming Dynasty is the era of coexistence of academy school and Wumen school, as well as the era of alternation of rise and fall of the two schools. Palace flower-and-bird paintings, represented by Lin Liang and Lu Ji, contain different styles of meticulous heavy color and ink freehand brushwork. Wang Pei is called "contemporary Ma Yuan" by Xiaozong Zhu Zhanji for his landscape paintings. Hongzhi Zhengde has thousands of officials in Jinyi. Gong Shanshui, Shi Nansong Ma Yuan. Compared with Ma Yuan's, his paintings are more detailed and slightly stylized, reflecting the contemporary style of the courtyard in the mid-Ming Dynasty.